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Software Version 3.20
EMC COMPLIANCE
DMX, MIDI, Keyboard cables: Belden 8102 100% Aluminium foil screen,
65% Copper braid.
Video, Printer: Amtron FR2651 Flat round cable, woven shield.
FCC STATEMENT
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital
device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses and can radiate
radio frequency energy and, if not properly installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of the following measures:
- reorient or relocate the receiving antenna;
- increase the separation between the equipment and receiver;
- connect the equipment into an outlet on a different circuit from that to which the receiver
is connected;
- consult the dealer or an experienced radio/television technician for help.
JANDS ELECTRONICS Pty Ltd reserves the right to determine what constitutes a legitimate training purpose and to revoke
the right for anyone to duplicate this Handbook at any time.
Trademarks
The Flying Pig Systems logo, the WHOLEHOG, and the WHOLEHOG II are registered trademarks of Flying Pig Systems
Ltd. Flying Pig Systems, Autofocus, WYSIWYG, and the Hog are trademarks of Flying Pig Systems Ltd. Effects Engine is a
trademark of Flying Pig Systems Ltd..
Macintosh is a registered trademark of Apple Computer, Inc. Vari*Lite is a registered trademark and VL5 and VL6 are
trademarks of Vari*Lite, Inc. yberlight is a registered trademark of High End Systems, Inc. SuperScan is a trademark of Clay
Paky SPA. RoboScan is a trademark of Martin Professional a/s. Microsoft is a registered trademark and Windows is a
trademark of Microsoft Corporation.
Disclaimer
Information contained in this manual is subject to change without notice and does not represent a commitment on the part of
the vendor.
Flying Pig Systems Ltd and Jands Electronics Pty Ltd shall not be liable for any loss, or incidental or consequential damages
whatsoever arising from the use or in connection with the furnishing of this manual, or any error contained in this manual.
It is recommended that all service and repairs on this product be carried out by Jands Electronics Pty Ltd or its’ authorised
service agents.
HOG lighting consoles must only be used for the purpose they were intended by the manufacturer and in conjunction with
this operating manual.
Jands Electronics Pty Ltd cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or
repair by unauthorised personnel, or by use other than that intended by the manufacturer.
Table of Contents • i
Table of Contents
TABLE OF CONTENTS .............................................................................................................II
PROGRAMMING......................................................................................................................21
Programming Styles ............................................................................................................. .................................................. 21
Programmer Overview ............................................................................................................ ............................................... 21
Selecting Fixtures............................................................................................................. ...................................................... 21
Adjusting Parameters ........................................................................................................... .................................................. 23
A Brief Playback Overview ...................................................................................................... ............................................. 25
Programming with Focus, Colour, and Beam....................................................................................... .................................. 26
Recording Cues with Time....................................................................................................... .............................................. 28
ADVANCED PROGRAMMING.................................................................................................45
Tracking ....................................................................................................................... .......................................................... 45
XYZ MODE............................................................................................................................... 51
Programming with XYZ Coordinates .................................................................................................................................... 51
CUELISTS................................................................................................................................ 57
Cuelist Window...................................................................................................................................................................... 57
Timing.................................................................................................................................................................................... 58
Special Cues........................................................................................................................................................................... 60
Virtual Masters....................................................................................................................................................................... 61
Macrocues and Macros .......................................................................................................................................................... 62
Cuelist and Macro Directories ............................................................................................................................................... 65
Comment Macros................................................................................................................................................................... 65
Cuelist Contents Window....................................................................................................................................................... 66
Other Cuelist Window Functions ........................................................................................................................................... 66
PLAYBACK.............................................................................................................................. 69
Masters................................................................................................................................................................................... 69
Other Playback Controls ........................................................................................................................................................ 70
Master Precedence ................................................................................................................................................................. 71
Customising Playback with Cuelist Options .......................................................................................................................... 71
Chases .................................................................................................................................................................................... 73
CONSOLE INPUTS.................................................................................................................. 89
MIDI Timecode ..................................................................................................................................................................... 89
MIDI ...................................................................................................................................................................................... 91
MIDI Serial Output ................................................................................................................................................................ 94
FIXTURE LIBRARY................................................................................................................105
The files, and what they do .................................................................................................................................................. 105
Making a new fixture ........................................................................................................................................................... 106
Writing a fixture file............................................................................................................................................................. 107
INDEX.....................................................................................................................................118
Introduction
The HOG 1000 and 500 have emerged through a collaborative effort between Jands Electronics and Flying
Pig Systems, resulting in a family of consoles that combine the strengths of both companies: flexibility,
power and ease of use, without overwhelming your budget.
The HOG consoles offer a range of powerful features. These consoles feature the unique operating syntax
of the WHOLEHOG II: logical, quick programming and playback, without confusing function names. Just
like the WHOLEHOG II and the Jandshog, the HOG 1000 and 500 handle any combination of fixtures,
moving or static, with moving lights as simple to program as conventional fixtures.
The configuration of the desk makes programming a snap, with preset groups and focuses at your fingertips
in a series of menu banks. Liquid Crystal Displays provide continuous feedback on programming and
playback status. The flexibility and functional range of the HOG 1000 and 500 make them ideal for
handling the entire spectrum of lighting design, from complex theatrical shows, to unstructured television
or touring events.
Operational Overview
For WHOLEHOG II Users
The HOG is a quick jump from the WHOLEHOG II, with almost all of the syntax and programming the
same as on the WHOLEHOG II. There are a few hardware design differences, but in a short time, the HOG
should feel natural. The HOG and the WHOLEHOG II are so similar, in fact, that shows programmed on
the WHOLEHOG II are fully transferable to the HOG, and vice versa.
Terminology
The following terms are used on the HOG:
Cue Tells one or more fixtures to change settings for intensity, beam, colour, and/or focus using
their delay and fade times. Theatre designers will recognise this term, Jands ESP2 users
know this as a “scene,” Event users will know this as a “memory”, while others may refer to
this as a “look.”
Cuelist Cues grouped in a specific order to run one after another, or even simultaneously. These
may or may not be linked. Jands Event users refer to this as a “stack.” A chase is one type
of cuelist.
Page A group of cuelists residing on the faders. Pages can be changed, allowing the sixteen
(HOG 1000)/eight (HOG 500) faders to be used for many cue lists.
Parameter An attribute of a fixture. A PAR can has one attribute: intensity. Moving lights also have
pan and tilt and usually several others such as colours and gobos.
Particularly important information will be shown on a black background with a Stop sign in
the margin.
Useful HOG tips will be boxed with a pointing finger in the margin.
The Flying Pig is a shift key, used in conjunction with other buttons; we’ll refer to it as PIG. It’s used like
®
the apple symbol on a Macintosh ; it must be held down while pressing another button.
The @ key means “at” and is used for patching and setting levels on the keypad.
• Do not use the console if the power cord is damaged or not properly connected to an
Earthed socket.
• Protect the system from extremes in temperature and wet weather. Operating temperature
range for the console is 0 to 40o Celsius (32 to 104 F).
• Keep drinks away from the console. More than one console has been destroyed by
having a drink knocked into it.
• Always handle the system with care and use a flight case when moving. Certain
components are sensitive to shock and a drop could break them.
• Only people with electrical expertise should open the back panel. There are exposed
power items inside which can shock.
Problem Solving
If you’re having trouble with the console, there are several places to look for answers. If you have a
specific question regarding a function or a feature of the console, use the Table of Contents or the Index to
find information on it. If you’re not sure where to look, or the console just seems to be acting strangely,
look through the Frequently Asked Questions section for a problem which matches your own.
Crashes
As with any software product, crashes may happen on occasion, so while we do everything possible to
make sure that they happen rarely, we can’t guarantee that they won’t happen at all. Please help us
eliminate any problems by reporting them back to us.
There are two types of crashes: fatal errors and program faults.
• When a fatal error occurs, the LCD will say I’m sorry I’ve croaked. Please write down the
entire message and what you were doing at the time, such as: “1. Trying to edit a cue list. 2. The cue
list was on a template page.”
• If you get a program fault, a stream of information will appear on the display screen. The top line will
start with Fault at and the second line will say Trace with several numbers following. Please write
down all of the numbers on the Trace line and send them to us along with a description of what you
were doing just prior to the crash.
If you’ve had a crash, reset the console by turning off the power and turning it back on while holding down
the Enter key on the keypad. Press 1 to perform a Clean Start. Because your show may have been
corrupted by the crash, you’ll need to load your most recent backup from disk. This is why it’s important to
back up to disk frequently.
If you have time, try to reproduce the problem by repeating your actions. If you can send us a description
of how to repeat the problem reliably, then we are much more likely to be able to solve it rapidly.
Bugs
A bug makes the console behave strangely but does not crash. For example, you might find that a function
button does not work properly in certain circumstances, but works fine otherwise. This is a bug. If you
find bugs in the software, please let us know; the only way we can fix them is if our users tell us about
them.
Please fax the bugs reports to +44 181 579 8469 or preferably e-mail them to support@flyingpig.com.
Software Updates
Over time the HOG software will be updated with new features and enhancements. The software will be
available from your dealer or over the Internet. In addition, revised fixture libraries will be released as we
generate personalities for new fixtures. To ensure that you can take advantage of updates, please complete
and return to Jands Electronics the registration card that was shipped with your HOG. If you include your
e-mail address, we’ll notify you when new versions are released.
The URL for Jands is http://www.jands.com.au. Once you’ve reached the Jands home page, download new
software by choosing the HOG page, and selecting Download New Software.
Programmer
The programmer section of the HOG selects fixtures and parameters to create looks on stage. The
programmer contains a numeric keypad and a standard set of buttons including Thru, Full, @, etc, which
are useful for programming fixtures and cues. Grouped nearby are the most frequently used programming
functions, such as Copy, Delete, Undo, etc. In addition, the programmer contains four buttons not found
on other consoles—Group, Position, Colour, and Beam. These buttons allow presets to be chosen
quickly from the keypad and are an easy way to create a cue.
Below the display screen are three Parameter Wheels, which offer another choice when programming. All
parameters can alternatively be set using the wheels to roll through until you find a colour, position, etc,
that you like.
Playback Masters
10
FLASH
FLASH
GRAND
GRAND
MASTER
MASTER
11 22 33 44 55 66 77 88 99 10
10 11
11 12
12 13
13 14
14 15
15 16
16
There are sixteen playback masters on the HOG 1000 and eight playback masters on an HOG 500, each of
which can independently play back its own cue list. All masters can run simultaneously with various
custom settings. Actions such as add/swap, and button response can be individually set on each fader.
The Playback Masters can be recycled through the use of Pages, with each new page bringing up a clean
group of sixteen or eight faders to accept new cues and cue lists.
The HOG has four Menu Banks for access to all presets and palettes, providing fast and efficient
programming. Each Menu Bank has sixteen preset buttons that can be programmed with specific Groups,
Colours, Positions and Beams. Buttons that have been assigned palettes will indicate this with a red LED.
Those buttons with the LED off are empty. To the left of each bank is a page selection window with + and -
buttons to cycle through all 10 pages; a clean set of sixteen more presets is available with each new page.
To access each preset, simply press its button. A list of the presets can be called up for naming by pressing
PIG and Position, Colour, Beam or Group as appropriate.
THE HOG 500 DOES NOT HAVE MENU BANKS. TO ACCESS THE MENUS, YOU MUST USE
EITHER THE EXTERNAL MONITOR OR A COMBINATION OF GROUP / POSITION / COLOUR
/ BEAM / EFFECT AND NUMBER KEYS.
Displays
The HOG has a central Liquid Crystal Display, located to the left of the keypad, which displays
programming activity, menus for functions not found directly on the console, and windows to view cue lists
or palette lists
Near the bottom of the main LCD is the Command Line. This will tell you what fixtures are currently
selected for programming, and what palettes have been assigned to them thus far. To deselect an item that’s
up on the Command Line, simply backspace over it with the backspace arrow on the keypad.
Along the top and bottom of the main LCD are Toolbars; functions relevant to the current application will
appear here, and are accessed by pressing the buttons directly above or below them.
There is also the option for one external display (a standard PC VGA monitor may be used) which connects
to a port at the rear of the console and shows more information.
Navigation
Navigation through the console’s displays is achieved primarily through use of the Cursor Keys, located
beside the Keypad.
To move through a display window without altering the selection at the same time, use the Paging Arrow
keys above the cursor keys. They will move the display one screen at a time, like Page Up and Page Down
on a PC. The Begin and End buttons will select the first and last parameter respectively.
Page Left and Right Buttons Page Up and Down, Begin and End Page buttons
Power on
Plug in the power lead, making sure the lead is properly earthed and shares the same earth as the fixtures.
As with any DMX system, the console and the fixtures must share the same ground (ie, be
run off the same power), otherwise signal corruption can occur. If this is not possible, then
the console should be used with an optically isolated DMX buffer box.
Now turn the power switch on. If there’s a show resident in memory, the console will be ready for use. The
start up screen will say Old Loaded. Press Okay to use the resident show in memory, New Show to
clear the memory and start with a fresh console, or press Load Show to load another show from disk.
If there is no show in memory, the start up screen will say Clean Start, and there will be a Load
Show and New Show button on the toolbar. Insert a show disk in the floppy drive and press Load Show
to load a show from disk, or press New Show to start with a fresh console.
Always keep a spare disk with your console to insert into the disk drive when moving the
console. This will help preventdamage to the disk drive.
Programming • 9
Fixture Selection and Patching
To select and patch the fixtures for a show, press the Setup button and then Patch on the top toolbar.
Please note that whilst you can patch to both DMX outputs on an HOG 500, only output 1
connects to the DMX port on the back of the console. The ability to patch fixtures to both
outputs allows shows to be used on both an HOG 500 and an HOG 1000.
Programming • 11
Patch the Miniscan hpe @ 30.
When you’re done, the patch list window will look similar to the one shown.
Note: Parameters from unpatched fixtures will not be executed by masters. Thus a cue with
entirely unpatched fixtures will have no affect on the state of a master’s LEDs (ie they will
not turn on). In addition, unpatched parameters will be shown on the Output window as
Unpatched.
Auto Menus
It’s a good idea to use the Auto Menu function to set up standard palettes for the fixtures to be used. While
these palettes may not cover all your needs, they’ll give you a good base to start with. It’s best to only set
up the Auto Menus once, after you have patched all the fixtures that you are likely to use. While in the
patch screen press the Auto Menu toolbar to bring up the Auto Menus window.
To generate auto menus, press Generate on the toolbar. If you wish to reset the options in the auto menus
window, press Reset All.
Display:
The format of the palettes and can be changed to suit the console operator’s taste. Whenever a fixture
type’s name appears in an automenu, it has been abbreviated to be more easily legible when viewing menu
banks.
For groups: The first group in each set stores the sum of all type groups. For
example, the ‘ALL’ group stores every fixture type, ‘ODD’ stores
every fixture with an odd user number of each type, etc. They are
thus ‘global’ group palettes.
For beam and colour palettes: If the option to separate palettes by type is chosen, the first palette
of each set is an empty marker palette labelled with the name of
the type in question.
Note that automenus incorporate any changes made to the fixture spreadsheet in the Edit
Fixtures window, so that if range labels are swapped or changed, the palettes will reference
the new ranges (automenus must however be regenerated to take account of any
subsequent modifications).
Fixture Alignment
Occasionally it’s necessary to hang a moving light upside down or sideways. To have all of the fixtures
moving in the same direction regardless of how they’re hung, use the fixture alignment features in the
Fixture Editing Spreadsheet.
To change an alignment:
1 Open the Fixture Editing Spreadsheet. This is found in
the Patch Window. To open the Fixture Editing
Spreadsheet from the Main display, press Setup,
Patch, Edit Fix.
2 Use the Group button and the toolbar to select the type
of fixture for which you wish to change the alignment.
3 Use the cursor keys to move around the Fixture Editing
Spreadsheet. Select a group of fixtures by holding down
the PIG key and using the up and down cursor keys. To
select all the fixtures of that type, use the ALL row.
4 Press the Set key to toggle the selection between Normal
and Invert/Swap.
5 Press Okay when you’re done.
Invert Pan and Invert Tilt make the pan and tilt parameters respond in a reverse manner to
normal, and should be used for fixtures hung in reverse orientation to the others. Swap Axes swaps the
pan and tilt parameters for sideways-hung fixtures.
Programming • 13
Saving and Loading Shows
To avoid any potential loss of programming, save your show periodically while programming and at the
completion of every programming session. Shows should be saved on 3.5 inch 1.4 MB HD floppy disks,
formatted for IBM, just like those used with a PC. Disks can be formatted in the Setup-Shows window.
Note: Do not save to a disk that contains files you wish to keep, as the saving process
deletes the contents of the disk prior to saving the show.
Saving shows
To save to floppy disk:
1 Press setup on the desk.
2 Insert a disk into the drive. If it hasn’t been formatted
yet, the console will do so automatically.
3 Press Save Show.
4 Press Okay.
5 When save process is finished, press Okay.
Loading Shows
If you wish to load another show without having to switch the console off and on again, use the Load
Shows window.
1 Insert the floppy disk with the show you wish to load.
2 Press Setup on the desk.
3 Press Shows.
4 Press Load Show.
5 Press Okay to lose current show in memory and load
new show.
6 When load process is finished, press Okay twice.
You do not require a library disk to start a new show. The console now comes with a full
fixture library programmed into ROM.
Battery-Backed RAM
The RAM in the console is battery-backed, so that if you lose power accidentally, your programming will
normally be preserved. However, it is recommended that you always save your show to disk.
Programming • 15
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Quick Start • 17
1 Press Auto Menu on the patch toolbar to open the Auto Menus
window.
2 Press Generate on the toolbar and the console will generate
them automatically.
3 Press Okay and then Close to return to the Patch
window.
Palettes have now been created on the menu banks. If you are using an HOG 1000, the LCD displays at the
top of the console will display the contents of the Menu banks. To bring up the menu palettes on the
external monitor, hold down the Monitor button and press either the Group, Position, Colour, Beam
or Effect buttons to bring up the display. Using either the mouse or the cursor keys, you can select the
different palette buttons. If a palette button contains palette information that has no affect on currently
selected fixtures, the LCD will show four dots and the external monitor will display light grey palette
boxes. Empty palette buttons will be indicated by a single dash on the LCD and an empty box on the
monitor. Palettes that are currently being used are indicated on the monitor by turning the palette button
white.
The red LED in the Monitor button lights up when the console is in External monitor mode.
ie, the cursor keys and other functions are operating on information in the External
Monitor. If the LED is not lit, then the console keys are operating on the information on the
main LCD panel.
Program a Cue
Open the Programmer Window
To open the Programmer window on the external monitor, press and hold the Monitor button and then
press Progrm on the toolbar.
Select Fixtures
Press a Group button from the Group menu bank or select individual fixtures by typing them in on the
keypad (for the purposes of this example, use a moving light).
Set Intensity
To get light output from the group you’ve selected, press @ Full. This brings them up to 100% intensity.
If you don’t want your fixtures at full, enter a different percentage on the keypad instead: press @ 65
ENTER to program 65% intensity. When choosing a level other than full, you must press ENTER after
your selection.
Set Focus
Now, aim the fixtures.
1 Type 1 ENTER to select the first fixture in your group (you can
also press Next to select the first fixture). The fixture number is
displayed in the left hand column of the Programmer window.
2 Adjust focus position—pan and tilt—by moving the centre and
right parameter wheels.
3 To select the second fixture, press Next.
4 Continue until all fixtures have been aimed.
Colour
1 Re-select the entire group of fixtures, so that the colour selection
applies to them all. Pressing Select then All is a quick way to
do this.
2 Select a colour palette from the Colour Menu Bank. Alternatively,
press Colour and select a colour with the parameter wheel.
Beam
Beam parameters are changed in the same manner as colour parameters.
To calibrate fixtures:
Quick Start • 19
6 Choose 4 points of a rectangle on stage which correspond
to the diagram above. The bigger the rectangle, the better.
7 Create four focus palettes – one for each point:
USR Upstage Right X=0 Y=10
USL Upstage Left X=10 Y=10
DSR Downstage Right X=0 Y=0
DSL Downstage Left X=10 Y=0
8 Aim all moving lights at each one of the four points and
record them into the respective palettes.
9 Select each of the four focus points in turn, press Set
twice and then choose the appropriate identifier (eg, Cal
USR).
10 Press Select on the toolbar.
11 Press Calibrate.
12 Press Position twice to change the parameter wheels
to X, Y, Z controls for programming in 3D space.
Note: XYZ information is recorded into palettes, but not into cues. When working in 3D
space, be sure to record all positions into palettes and then build your cues from the
palettes.
Programming Styles
The HOG 1000 and HOG 500 have been designed to be inherently flexible, often providing several
different ways to achieve the same outcome. Which method is best for you will be determined by your
programming style. Ultimately, the console is a programming tool which lends itself to the user,s way of
working, and not the other way around.
More experienced users tend to devote a large portion of time to the initial console setup before even
beginning to program cues. Palettes are arranged to suit the user’s likes and dislikes, colours are mixed and
grouped, positions are setup, especially when using 3-D programming methods. We recommend that you
spend time learning to use the console and its options and then decide on the best way to program your
show.
Programmer Overview
The Programmer is where cues are created and manipulated. Here, fixtures are selected, levels are set, and
commands are executed. Programming is a three step process:
1 Select the fixtures or group(s) to program.
2 Adjust the parameter settings in one of 3 ways:
• Wheels
• Keypad
• Palettes
3 Record the cue using Record or Update.
It’s important to note that the programmer has priority over everything else on the board (with the
exception of the Grand Master and the Dead Black Out button). This makes it easy to see what’s happening
as cues are created, plus it makes it possible to quickly grab a fixture during a show and over-ride the
playback masters.
Selecting Fixtures
The first step in programming is always to select fixtures.
For example, to select all Desk Channels:
Quick Start • 21
1 Find the Group palette button labelled ALL Deschann and
press it. This group was created when the Auto Menus function
was used during set up.
All desk channels are now selected.
Alternatively:
1 Type Group 2 ENTER on the keypad.
Or you can select fixtures individually:
1 Type in the numbers you want, eg, 32 Thru 55, or 1 Thru 5 + 9 -
3, or Group 2 - 7
You’ll notice that after you selected the All Desk Channels group that some of the palette
button labels in the Focus, Colour and Beam windows changed to a light grey box. This
indicates that those palettes have no effect on your current selection
To program VL5s, select them using the Group key and the toolbar. You can avoid having to use the
Group and toolbar buttons by specifying the fixture type number (determined by the order in which the
fixtures were added to the patch in the Change Schedule window) followed by a slash and the fixture
number. For example, 1 / 5 would select Desk Channel 5 (fixture type 1 / fixture number 5). You can use
Thru, + and - with this as well. eg, 1/1 Thru 5 -1/3 + 9.
Note: This will only work if you have 9 fixtures patched of the currently selected fixture. ie, if you have a
bank of Desk Channels in your patch list and also have VL5s currently selected and have 9 of them, start
with the programmer clear, and you will finish up with Desk Channels 1,2,4,5 and VL5 9 selected.
Deselecting fixtures
Use the back arrow key to backspace over unwanted groups or fixtures.
Or you can deselect Groups by
1 Press PIG and hold it down.
2 Press the group button to deselect
Finally, you can also press Clear Restore, but this will also erase any other information currently in the
programmer.
Backspaces through the previous item on the command line, which shows the most recent
selection you have made in the programmer. Selections become deleted as you backspace
through them. We call this key Backspace.
Used for split fade times and sometimes fixture and cuelist selection: Time 5 / 7.
Completes an operation.
The four buttons above the keypad—Group, Position, Colour, and Beam—are used to select specific
groups or palettes (like group number 19).
Adjusting Parameters
Setting Intensity
Select Desk Channels as above, then
• Move the left parameter wheel. The labels above the wheels indicate what the wheels control and their
current setting.
OR:
• Press Full to set to 100%.
OR:
• Press @65 ENTER. It is possible to skip the last digit for levels ending in zero. For example, @ 6
ENTER sets the fixtures to 60%. For 6%, type @ 06 ENTER.
Further selections can then be made and intensities set for other fixtures.
Intensities can also be set using the toolbar functions +10%, -10%, Out, and Rem Dim.
+10% and –10% adjust the intensity up or down by 10%, Out brings the intensity of all selected fixtures to
0%, and Rem Dim brings the intensity of all fixtures in the programmer that aren’t selected to 0%.
We will see how to change other parameter types later on in this chapter.
Blind
If you don’t want the programmer to output its contents, press Blind. The Blind LED illuminates until the
button is pressed again, when the programmer returns to normal.
Quick Start • 23
The Default setting is to show output values. To see fade times, delay times, or crossfade paths press Pig
and either 2, 3, or 4 on the keypad. Alternatively, if you have a mouse or trackball connected, you can
point to the setting you wish to view and click on the left mouse/trackball button to select it. Pressing the
monitor button or clicking on the right mouse/trackball button will toggle between the console and the
external screen.
The fixtures and parameters are shown in different colours to indicate their status:
Blue background Parameters currently selected in the programmer
White background Parameters of selected fixtures that have not been programmed
Black text Parameters still active in the programmer, but part of a previously recorded
palette or cue.
Selecting the menu buttons at the top of the window shows more information:
Values Shows the values programmed for each parameter.
Fade Shows the fade time programmed for each parameter.
Delay Shows the delay time programmed for each parameter.
Path Shows the crossfade path programmed for each parameter.
Another useful display while programming is the Stage Output display. It shows the output of the entire
console, not just the programmer, and is accessed by holding Monitor followed by the Output button on
the toolbar.
Important: The Stage Output Window does not indicate the status of the Dead Black Out
button or the Grand Master.
Recording a Cue
Once a look has been created in the programmer you can record it as a cue. To record cue 1 on the first
Playback Master:
Cue 1 has now been recorded on fader 1. The time for cue 1 will automatically be the default times
specified in the Control Panel. Don’t worry about setting your own times for now.
When cue 1 was recorded on the fader, a cue list for that cue was automatically created. To see this cuelist,
open the cue list window by pressing Pig and Choose above fader 1. Note that this also selects fader 1, as
indicated by a lit red LED on the Choose button. The selected fader becomes the default fader for all cue
list actions. To see this display on the external monitor, hold Monitor and press QList.
Cue Numbers
Every cue that’s created is given a number and assigned to a cuelist. Numbers can be up to 5 digits to the
left of the decimal and 4 digits to the right of the decimal, such as cue 12345.0001. These numbers refer to
cues in a specific cuelist, not the entire console. So there can be a cue 1 for cuelists 1, 2, and 3, which are
completely different and not linked in any way. Nevertheless, it’s possible to copy or move cue 1 into any
other cuelist.
It’s important to remember that cuelists are not attached to a fader forever. Eight/sixteen new cuelists can
be loaded on the faders by changing page. Cuelists can also be copied and moved around just like cues. But
more on these items later.
Cue Names
Cues can also be given text names by pressing Set immediately after recording the cue. Enter a name in the
Quick Name box and press ENTER. If you wish to name a cue that was previously created, press Pig and
Choose above the master containing the cue, cursor to the cue that is to be named, press Set and enter the
required name followed by ENTER.
Cue Storage
Although the programmer retains all selections made since pressing Clear Restore, only the parameters
which have changed since the last record are recorded into cues. In most cases, this has no effect on
running the show; during playback the console automatically calculates what a cue should look like based
on what comes before it in the cuelist. Nevertheless, it’s possible to play back cues without this function
enabled. There’s also an option to record the entire state—not just the changes—to allow for a variety of
playback styles. More on these features in the Cues, Cuelists, and Pages chapter.
To restore the most recent contents back into the programmer, press PIG plus Clear Restore.
It’s a good habit to always press Clear Restore before starting to program new cues. This
ensures that lingering items from previous unrelated cues won’t be included in your new
cues.
Quick Start • 25
First, bring up the fader on cue 1 to full. The fader acts as a submaster for intensity only. It has no impact
on colour, beam, or focus. Now press the Go button above Fader 1. The cue fades in with the programmed
time. If you didn’t see anything happen, make sure that the Grand Master is at full.
To freeze the fade at any point, press Halt. Pressing it again will fade back to the previous cue.
Press Release to deactivate (ie, turn off, or remove from stage) the selected cue list, namely the one with
the Choose button LED lit.
To see the cues in a cuelist, press PIG and Choose.
If you used Blind while inspecting the cue, don’t forget to turn it off before continuing.
Position (Focus)
Typing 1 ENTER selects the first Cyberlight (you can also select the first fixture by pressing Next). Its
focus position—pan and tilt—can now be adjusted with the centre and right parameter wheels.
To select Cyberlight number 2, press Next. Adjust its focus settings and then press Next again to select the
next Cyberlight. Continue this cycle until all of the Cyberlights have been focused.
Colour
Re-select all the Cyberlights by pressing All Cybm2 litho in the group palette (alternatively, you can
press Select on the toolbar, followed by All). Press Colour to make the parameter wheels swap to
controlling colour. If at any point you want to go back to adjusting focus parameters, simply press
Position to return the focus parameters to the wheels.
The parameter wheels are now ready to mix a colour for all the Cyberlights. By using the three parameter
wheels red can be generated. It’s also possible to access the red Colour Wheel settings with the parameter
wheels. Since there are more than three colour parameters on the Cyberlight, you will have to press Colour
again to scroll the wheels to show the Colour Wheel parameter. To return to the colour mixing wheels,
press Colour one more time.
Alternatively, select the Red palette from the colour menu palette to put the colour wheel in its red setting.
Alternatively, type Colour 2 ENTER (this may differ depending on how the Colour palette is arranged).
To deselect palettes, hold PIG and then press the palette button.
As you can see, there are several ways to set parameter levels:
• Wheels
• Keypad
• Palettes
Beam
Beam parameters include such things as iris, gobos, gobo-rotators, and edges. To access them on the
wheels, press Beam. Fixtures such as Cyberlights have a number of beam parameters, so it’s necessary to
press Beam several times to scroll through all of them. Alternatively, after pressing Beam, you can select
which beam functions you wish to modify on the parameter wheels by pressing the respective toolbar
button.
Beam parameters are adjusted the same way colour parameters are, ie, using either the wheels, palettes or
keypad. After selecting some beam settings the VDU will look similar to the picture on the following page.
Similar symbols appear when programming colour and gobo wheels for certain fixtures; these
symbols, >> and <<, refer to colour wheels, and point in the direction of the wheel’s rotation.
This symbol + indicates split colours.
Quick Start • 27
The currently selected parameters are highlighted (Gobo, Gobo2, Fx/prism). Pressing a toolbar button takes
you straight to those parameters. Alternatively, repeated presses of the Position, Colour or Beam
buttons advance the selection through the menu.
Linked parameters
In contrast to focus and colour, only the altered beam parameters were recorded in the cue. While it usually
doesn’t make sense to record pan without tilt or magenta without cyan and yellow, beam parameters are
best recorded separately. Regardless, these default setting can be over-ridden if necessary in the Control
Panel, allowing a pan chase to be programmed independently of a tilt chase.
Now try saving your show to disk:
1 Press the Setup key.
2 Insert a 3.5” 1.44MB floppy disk into the drive at the front of the
console.
3 Press Save Show.
4 Press Okay to confirm that you’d like to save.
5 Press Okay to exit save window.
Split timing
Split timing means that when the cue executes, fixtures whose intensities are going up (“In” fixtures) will
have different timing to those fixtures whose intensities are going down (“out”). So a split time has both an
In time and an Out time.
Use / to enter a split fade time (one with both an in and out time). For example, 2/4 would have an in time
of 2 seconds and an out time of 4 seconds. / can also be used to enter a split delay time.
Specifying minutes
Hold the PIG key and press . to get minutes.
Time values can have up to 2 decimal places of precision (eg, 5.11 seconds).
Quick Start • 29
Changing the default cue times
You can change the default times for fade and delay in the Control Panel window (Setup Panel). The
console will automatically use these for your cues unless you make a change while programming. See
Customising the Console.
Naming a Group
To give the group a name:
1 Press Set.
2 Type in a name, like Stage Right, on an external keyboard or by
using the keyboard built into the right menu banks.
3 Press ENTER.
• They can be named properly. These names appear across all display types.
• Like groups, palettes can be made from any combination of fixture types. For example, a Red palette
could contain red for scrollers, VL5’s, Cyberlights, Super Scans, and Roboscan 1220’s, assuring that
colours match every time.
To create a palette:
1 Select fixtures and adjust the parameters to be included in the
palette.
2 Press Record.
3 Press the destination palette location (or type in a destination
palette number: Position 21 ENTER).
4 To name: press Set, type in a name, and press ENTER to name
the palette.
If you create a palette with one fixture, this setting will apply to all of the fixtures of that type. If a palette is
recorded with more than one fixture of the same type, then each fixture of that type will receive its own
value.
If you try to create a palette over the top of an existing palette, a message box labelled
“Choose edit” will pop up telling you that this item already exists and ask you to select
between Insert, Replace, Merge and Cancel. Insert will place the new palette in the
palette button you have chosen and push all palette buttons from this button onwards one
place to the right. Replace will delete the current contents of the palette button and
replace it with the information in the programmer. Merge combines the programmer
contents into the destination palette. If there’s a conflict, the information in the
programmer has priority. Cancel will abort the process.
Naming Palettes
To name an existing palette, open the required palette window using PIG + Position, Colour, Group or
Beam. Select the palette to name with the cursor keys, press Set and enter name followed by ENTER.
Masking
When palettes are recorded, the programmer automatically filters out parameters that are not appropriate to
that palette type. For example, if intensity is at full when creating a focus palette, the intensity will not be
included.
However, it’s possible to over-ride this masking if you want to record intensity into a Position palette, for
instance. To over-ride masking:
1 Select fixtures and adjust the parameters to include in the palette.
2 Press Record. You will see that the programmer toolbar is
replaced by the Edit Options toolbar.
3 Press the Use I and Use F option in the bottom
toolbar. This means that Colour and Beam will not be
included, but that intensity and Focus will be.
4 Press the destination palette location, eg, Position 2
ENTER.
If you select a destination that is already in use, the item being copied (moved) will be
given an item number with a decimal value and the existing items will move one (or more)
positions to the right on the menu buttons.
Alternatively, you can use the keypad. For example: Copy Colour 5 thru 12 @ 20 ENTER.
Manipulating Cues
Viewing Cuelists
To see a list of the cues within a cuelist, hold down Pig and press Choose button for desired fader’s
cuelist. Alternatively, you can hold down Monitor and press QList on the keypad for the current cuelist to
be displayed on the external monitor (to change between cuelists, press Choose button for desired cuelist.
If the desired cuelist is not on the current page, you will need to change pages first).
Please note that the Delete command cannot be reversed. Unless you have the information
on a backup disk, it will be completely lost.
Unblock
Whenever State or Everything are used, parameters will often repeat settings programmed in earlier cues.
These are known as hard commands. Hard commands are also created during the normal course of
programming. Sometimes these hard commands are deliberately included, but sometimes they are the by
product of cue manipulation. To eliminate unwanted hard commands, use Unblock:
1 Press Pig and the Choose button for the cuelist to
unblock.
2 Press Unblock on the cuelist toolbar.
3 Enter a range of cues to unblock.
4 Press ENTER.
Eliminating unnecessary hard commands is a good way to reduce show size on disk.
Masking/Use
As we’ve seen, it’s possible to filter out Intensity, Focus (Position), Colour, Beam, or Time settings by
pressing the relevant Use button(s) on the toolbar while recording (the default setting of the Use buttons is
neither selected or deselected, but rather allowing the console to choose what parameters should be
recorded). For example, if all parameters for a fixture are selected in the programmer and Use C is pressed
after Record, colour information will be included in the cue and Intensity, Focus, Beam and Time
information will be ignored. Any combination of the Use buttons can be selected/deselected when
recording a cue, parameters that have not been modified in the programmer will be not be recorded even if
the Use button for that parameter has been pushed.
Cuelists
Every cuelist is stored in the cuelist directory window. Open the window by pressing PIG and List:
Merging Cuelists
To merge two cuelists, they must both be on Playback Masters
1 Press Copy.
2 Select Merge on the toolbar.
3 Select the cues to merge from one cue list. Use thru and +.
4 Press @.
5 Select the cuelist and all of the cues to merge into with the keypad
(eg, 1/2 Thru 5). To merge into more than one, all cues must be
selected.
6 Press ENTER.
If the selected destination has more cues than the source, the source cues will repeat themselves until the
end is reached. If the reverse is true, then merging will cease once the end of the destination is reached.
Naming Cuelists
Cuelists cannot be named via the master itself. You must find the cuelist in the cuelist directory and name it
there.
HOG 500 users: If you do not have an external keyboard connected to your console you
will not be able to enter cue names and other alphanumerical information.
HOG 1000 users: If the external keyboard is not present but selected in the Control Panel
window, you will not be able to change the name of the cuelist.
Deleting Cuelists
To delete a cuelist permanently on all pages, delete it in the cuelist directory window. To only delete it from
the Master, hold Delete while pressing the Master’s Choose button.
To permanently delete a cuelist:
1 Press Delete.
2 Press List and then enter cuelist number.
3 Press ENTER.
Pages
Pages are a useful way to organise programming. They let cuelists be grouped and loaded quickly onto the
Masters with one button press. For concert design, shows are often organised with one song per page.
When the set list arrives before each show, it’s a simple matter of moving the pages around so they reflect
the running order. To see the available pages, press PIG and Page.
What Is a Page
Cuelists are not stored on masters. The masters merely reference cuelists in the cuelist directory; the
referencing details are stored in a page.
When you change page, the masters receive new reference information, and hence all the cuelists on all
masters change instantly.
The same cuelist can be used several times within a page or on several pages. The number in the top right
corner of each cuelist box in the cuelist directory window shows the number of times the cuelist is used in
pages.
Changing Pages
There are three ways to change pages:
• Press Next Page (to move backwards through the pages, hold the PIG and press Next Page).
• Go to the desired page in the page directory window using the cursor keys and press ENTER (PIG +
Page will open the page directory window). Press the desired page button in the Page palette.
40 • HOG – Version 3.20
The page is now the current page. Any changes you make as to which cuelists are on which masters will
now affect this page.
If using an HOG with no Keyboard, pressing the Menus button will bring up a keyboard on
the main menu banks.
Naming a Page
Changing the name of a page is done in the page directory window.
To change an existing page name:
1 Hold Pig and press Page to open page directory.
2 Use cursor keys and Set to select page to name.
3 Enter name of page using external keyboard.
4 Press ENTER.
5 Press Okay.
Modifying a Page
Change to the page to be modified, and either record cues into a brand new cuelist or add an existing cuelist
to the page. New cuelists are automatically added to the cuelist directory and to the current page.
To add an existing cuelist to the current page:
1 Open the cuelist directory by holding PIG and pressing List.
2 Press Move or Copy.
3 Press List.
4 Select the cuelist by entering its number on the keypad.
5 Press the Choose button for the desired Master.
6 Press Okay
After a cuelist is moved onto a Master it’s still linked to the original cuelist; any changes made to it will also
affect all other uses of that cuelist in other pages.
When a cuelist is copied onto a Master, a brand new cuelist is made with no links to any other pages. Any
changes made to it will not affect other pages (unless, of course, the new cuelist is subsequently moved
onto a master in another page).
To delete a cuelist from the page, but retain it in the cuelist directory window for future use:
1 Press Delete
2 Press the Choose button for the Master the cuelist is sitting on.
3 Press ENTER.
This will delete the cuelist from the page, but the cuelist will still be located in the cuelist window for future
use:
Clearing a Page
Go to the page you wish to clear. Press Clear Page in the Page Window. Note: This does not delete any
cuelists, it only removes them from the currently active page.
Deleting a Page
Deleting a page will totally remove it from the page directory. Note: This does not delete any cuelists.
1 Press Delete.
2 Press Page.
3 Enter page number.
4 Press ENTER.
Note: You cannot delete the current page. If you wish to delete the currently active page,
you must first change to another page and then delete the page.
Page Holdover
There is a choice between two standard ways in which the console behaves with cuelists when you change
page, selectable from the Control Panel. The default mode when starting the console is that cuelists do not
get held over when you change page. When you execute a page change command all active cuelists will
release themselves over their programmed release time and will disappear from the playback masters. The
new set of cuelists, from the incoming page, will be loaded automatically onto the playback masters
without being activated. To activate any of the cuelists, just press the respective Go button.
The other option in the control panel is to select Page hold if Active. With this mode selected any
cuelists that are actually active as you change page will automatically be held over, whilst any no-active
cuelists will be replaced with cuelists from the incoming page. A cuelist that is being held over from a
previous page will display a in front of the cue name, for example, the normal name of a cue might be
Drum Solo, if the page is held over the name will look like Drum Solo. To remove the holdover,
release the fader and the cuelist for the new page will now appear.
At anytime, when changing page, and in either of the two modes mentioned above, you can manually
holdover any particular cuelist, or cuelists, whether they are active or not. To manually holdover a cuelist
on a master while changing page, hold down the master’s Choose button whilst changing page. If you
hold down multiple Choose buttons, all of the relevant cuelists will be held over.
To remove the holdover, release the fader and the cuelist for the new page will now appear. A cuelist that is
being heldover from a previous page will display a in front of the cue name.
Template Pages
A template page allows you to specify cuelist(s) that will appear in every page, without you having to move
that cuelist into all the pages. Use it when you have one master cuelist for playback, then change page to
access different special effects. Or use it to store useful manual control cuelists; items such as smoke
machines or lectern lights.
To setup a template page
1 Make the page as normal.
2 Make the page current.
3 Open page window (PIG and Page).
4 Press Template in the Page window.
5 Press Okay.
A “T” will appear in front of the page name in the Page window to indicate that it has been loaded as a
template page.
If you now change to a different page, you should still see the template page’s cuelists appearing. If both
the normal page and the template page are using the same master, the normal page will over-ride the
template page.
Because the template page is not a show page, it will never be accessed when you use the Next Page
button to access different pages.
For the template page to operate correctly, make sure that the normal pages do not have
cuelists set up where the template cuelists should be, except where an over-ride is
specially intended.
To turn off the template page, go into page directory and press No Template at any time.
Please note that there can only be one template per show.
Tracking
The HOG 1000 and 500 are tracking consoles – meaning it only saves programmed changes and not entire
states. This concept directly impacts on how you program your show; not understanding how tracking
works can lead to confusion and mistakes.
Under normal circumstances, recording a new cue on the console only stores information for the parameters
you adjusted since the last record command. For example, if only the colour wheels were adjusted before
recording, the cue won’t contain information for intensity, position, or beam.
There are two advantages to using this system. One is that the storage of cues is extremely efficient, since
programmed values are not repeated throughout a cuelist. The other is flexibility during playback. Some
shows are programmed with only one parameter type in each cue or sequence, allowing them to be
combined with each other in different ways to achieve a wide selection of looks. In other situations, a single
parameter override needs to be manually triggered from a different Master at varying points during a show.
This would not be possible if the console always stored values for each parameter.
However, this system can occasionally be confusing, and sometimes recorded cues don’t appear the same
during playback as they did while in the programmer. This problem usually one of two causes:
1) Active cues on the playback masters while recording. The look on stage is a combination of the
programmer and the playback masters, but only what’s in the programmer is recorded in the cue. Later,
when the cue is played back, it will look different if the cues that were active while recording are now
turned off.
2) Active cues during playback outputting values for parameters not included in the recorded cue. If a
Cyberlight is programmed with only intensity, colour, and focus information, an iris setting will not be
included in the cue. If this cue is activated after another cue has put the same fixtures in a tight iris, the iris
will remain tight even though it was open when recorded. This is because no information was programmed
for iris since it was not touched.
An Example of Tracking
Looking at an example will help make sense of tracking.
Cue Action Cue Contents Output
1 2 3 4 5 1 2 3 4 5
1 1 @ Full FF FF
2 2 @ 50 50 FF 50
3 3 + 5 @ 80 80 80 FF 50 80 80
Tracking Off:
4 4 @ Full FF FF 50 80 FF 80
5 1 Thru 3 @ 70 70 70 70 0 70 70 70 0 80
The first column is the cue number. The second column shows what programming activity takes place in
that cue (assuming ENTER and Record). The third column (Cue Contents) shows what actually is
recorded in the cue. The fourth column (Output) shows the resulting state of the cuelist as the cues are
executed (this assumes that Maintain State has been kept as the default setting in the cuelist options
window).
Advanced Programming • 45
Only the items that are programmed since the last record actually get recorded in the cue. As cues are
executed in a cuelist, the console automatically calculates the output state for that point in the cuelist. If
Maintain State is deselected, output will be the same as the programmed cues.
Cue four was recorded by deselecting Track Forward on the recording toolbar (which appears after
Record is pressed). This puts the console in Cue Only mode so that any changes in cue four are
automatically reversed in the following cue.
Note that Clone cannot be used to grab information from running cuelists – first use
Active, and then Clone to different fixtures.
Prev
Prev reselects the previous Programmer selection.
Invert
Invert captures the fixtures not chosen in the previous selection. For example, if all VL5’s are first
loaded in the programmer and then number five is selected, pressing Invert selects all VL5’s except
number five.
Calibrate
Calibrate is used with XYZ programmingto establish stage co-ordinates.
Next
When a range or group is selected in the programmer the Next button will cycle through the fixtures in this
range or group, in the order that they have been entered. ie, 1 thru 4 will cycle 1,2,3,4,1,… and 8 + 5 + 7 +
6 will cycle 8,5,7,6,8,…
If nothing is selected in the programmer, or a single fixture is selected on the command line, then the Next
button will cycle through all of the fixtures for the currently selected fixture type. If no user numbers have
been allocated then the Next button will cycle through every fixture of each fixture type in turn. If every
fixture has been allocated a unique user number then the Next key will cycle through them in numerical
order.
Pressing PIG plus Next moves backwards.
When using a trackball or mouse to aim fixtures (ie, in pan/tilt mode) the left button works as Next and the
right button as Previous.
Highlight
Highlight temporarily brings the currently selected fixture(s) to 100% intensity and an open beam, without
this information being stored in the cue. It’s useful for updating preset focuses or for focusing a specific
fixture in the middle of a cue. Highlight will not affect the settings within the programmer even though the
Stage Output screen will show different values.
Highlight remains active until turned off by pressing Highlight again.
It’s possible to adjust the default Highlight settings by creating a custom Highlight palette. To do this:
1 Create a palette with fixtures at the desired highlight
settings.
2 Select this palette.
3 Press Set twice.
4 Select the Highlight option.
5 Press ENTER.
Flip
Flip rotates a moving-head fixture so that it hits the same point on stage, but from the other end of its
movement range. To achieve this, select the fixtures you want to flip and press Flip.
Remainder Dim
When Rem Dim on the programmer toolbar is pressed after a fixture selection, all other fixtures will
receive an intensity value of 0.
Advanced Programming • 47
+10 increases the intensities of selected fixtures by 10%.
-10 decreases the intensities of selected fixtures by 10%.
Conditional Snapshots
In addition, you can use Active to load a subset of the console’s output. For example, to pull into the
programmer all fixtures which are currently red, press Active, the red palette button, and then ENTER.
This syntax can be used with fixtures, groups, and palettes.
Grab parameters of a certain type for fixtures selected in the programmer by holding Active and pressing
the appropriate button: Group (for intensity), Position, Colour, or Beam.
Hold Active and move parameter wheel to grab that parameter for fixtures selected in the programmer.
Active @ 50 grabs all fixtures with intensity of at least 50%. Substitute any other number for 50.
Removing Programming
Cancelling your latest modifications
If you change your mind about a level adjustment, press the Backspace key. The current selection and
any changes you just made will be cancelled.
KnockOut
This function removes selected fixtures and their programming from the programmer:
Fan
Fanning Parameters over a Range
Fan automatically programs several fixtures at once to create symmetrical looks. When used with pan and
tilt, fixtures placed in a line will be aimed so they form a fan or a knot.
To use Fan:
1 Select the fixtures to program.
2 Press and hold Set.
3 Use the parameter wheel that controls the parameter you wish to
“fan”. eg, use the Pan and Tilt parameter wheels to fan the
position of moving fixtures.
Although mainly intended for pan and tilt, Fan can be used on other parameters as well.
• To create a nice rainbow effect across colour mixing fixtures.
Grouping
Pressing Grouping on the Programmer toolbar will group together fixtures in the designated parts during
fanning. For example, pressing 3 Part means:
Fixture Movement during fanning
1, 4, 7, … all go one way
2, 5, 8, … all stay still
3, 6, 9, … all go the other way
If the grouping that you desire is not found, you can press Custom and enter the fixture grouping that you
want in the data entry box that pops up.
Path
Path is the type of crossfade a cue, a fixture, or a parameter executes; it defines how a cue will change over
time. Some console users will recognise path by a different name such as a dimmer curve or channel
profile. For example, a PAR can may fade from zero to full in five seconds in nine ways:
Defaults The default path setting for the fixture as defined in the fixture library.
Linear Smooth, proportionate fade over time.
Start Snap change at the beginning of the cue.
End Snap change at the end of the cue.
Damped Slower crossfading at the beginning and end of a cue.
Brake Slower crossfading at the end of a cue.
SpeedUp Slower crossfading at the beginning of a cue.
Under The fade first goes in the opposite direction of its destination.
Over The fade overshoots its destination and then returns to it.
Advanced Programming • 49
Shake Chaotic, sawtooth fade over the course of the cue.
Path settings can be changed in the Cuelist or Programmer Times windows. Use the cursor and
ENTER/Set keys to set fade in and fade out paths:
Default paths for fixtures are set in the fixture library.
In order to use XYZ mode when programming, fixtures information must come from either
the built in ROM library or from a ver 3.0 or later library file. See Chapter: Fixture Library at
the back of the manual for more information on adapting old libraries or calibrating
fixtures.
Calibration
The XYZ system must first be calibrated before use. This process is simply a matter of aiming every fixture
at each of four calibration points. Accuracy is quite important, so you may want to iris down the fixtures
when aiming, if possible.
The map below shows the X and Y coordinates mapped onto a stage. Z is the height above the stage.
XYZ Mode • 51
To calibrate fixtures:
1 Choose 4 points of a rectangle on stage which correspond
to the diagram above. The bigger the rectangle, the better.
2 Create four focus palettes – one for each point:
USR Upstage Right X=0 Y=10
USL Upstage Left X=10 Y=10
DSR Downstage Right X=0 Y=0
DSL Downstage Left X=10 Y=0
3 Aim all moving lights at each one of the four points and
record them into the respective palettes.
4 Select each of the four focus points in turn, press Set
twice and then choose the appropriate identifier (eg, Cal
USR).
5 Press Select on the toolbar.
6 Press Calibrate.
7 Press Position twice to change the parameter wheels to X,
Y, Z controls for programming in 3D space.
Note: XYZ information is recorded into palettes, but not into cues. When working in 3D
space, be sure to record all positions into palettes and then build your cues from the
palettes.
To modify an XYZ position, load and update the palette, not the cue.
Recalibration
If fixtures are moved, they’ll need to be recalibrated to ensure proper performance. In a touring
environment, every fixture will need to be recalibrated every time a new venue is reached. In order for this
process to work properly, it’s important that the four points be in the same position relative to the stage
elements.
The Mini Effects Engine is a way of creating dynamic effects very quickly. You can use it to make circle
effects, ballyhoos, shutter chases, fluctuating rainbows, and many more.
Previously, to make a dynamic effect, you had to create each static look first, turn them into a chase, and
finally run the cuelist to obtain the effect. Now, only a few button pushes will create the same effects within
the programmer. Effects can be recorded into a single cue and can be crossfaded from one to another in
successive cues.
Recording Effects
To record this look as a cue, just press Record as you normally would. A single cue will be created. To
modify an effect after it’s recorded, load it back into the programmer.
Effects Engine • 53
Offset
Offset refers to where in an effect cycle a fixture begins the effect. A single effect can have many looks by
using different offsets. Many of the preprogrammed effects in the Effects window have several
permutations with different offsets depending on the number of fixtures.
Fanning Effects
A quick way to evenly spread the offsets across a range of fixtures is to fan them; hold Set while turning
the Offset wheel. This can generate some interesting looks. Fan also works on rate and size.
Real-time effects take up 8 times more memory than a normal static look. This means that
you will be able to store 8 times fewer cues than normal, if all cues were made up of
effects. Bear this in mind when planning your show.
Sometimes the console may not be able to correctly synchronise all your effects in the
programmer (if they have come from many different sources). To resynchronise, turn Blind
on and off.
Base Values
Most of the effects that are provided on the blank show disk are relative. This means that they expect to be
added to a base value.
You set the base value just like setting up a normal value, using the parameter wheels or by choosing a
palette. This can be done before or after you have selected an effect.
Effects Library
Multiple fixture effects are stored in the Effects Library. You can use the pre-prepared effects from the
blank show disk, or you can record your own combination of existing Effects. Effects Libraries can be
merged from other shows. This way, it’s possible to build up a personal library of effects which are used
from show to show.
Note: A blank show disk contains effects tables and a fixture library, but no palette or cue information.
Effects in the effects menu are not like palettes. They do not auto update.
Effects Engine • 55
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Cuelist Window
The cuelist window is the key window to see what’s going on in a cuelist. Here, timing is modified, options
are selected, and cue contents are examined. To open a cuelist’s window, hold down the Pig and press
Choose for the desired Master.
Or hold Monitor and press QList on the toolbar to view the window on the external monitor and use the
Choose buttons to select the desired Master:
Window Layout
The Wait column, which is the left hand column of the cuelist window, shows the wait time for cues and
also indicates the current playback state of cues. As we’ll see in the next section, this column is used to
change Wait times.
As cues execute, the cues in this column turn white on the external monitor to indicate they are active. In
addition,
• >> symbol denotes the current cue.
• R denotes an actively crossfading cue along with a number showing the percentage of the fade
completed.
• H denotes a halted cue.
• Pending cues have a countdown to when the cue will execute; this is the wait time.
The Cue column (the second column from the left) shows the cue number and any name associated with the
cue. This column of buttons are also the buttons used for selecting cues during edit operations.
To change a cue number:
Cuelists • 57
1 Open current cuelist window by holding Pig and pressing
Choose button of cuelist to view.
2 Select cue by moving the cursor box over its name/number.
3 Press Set.
4 Type in the new number from the keypad, followed by
ENTER.
Cue numbers can have up to 4 digits to the right of the decimal (eg, 1.0001).
To change a cue name, type in a name instead of a number.
Continuing from the left side of the screen, the Fade, Delay, Path and Comment columns show timing
characteristics for the cues in your cuelist. Timing can be edited directly using these columns. Special cues
such as Link cues or Mark cues use these columns for other purposes.
The Comment column can be used to either enter a comment relevent to the cue, or to enter Comment
Macros that can be used to control other cuelists. See Macros later in this chapter. Use the Set key and type
in your comment followed by ENTER key.
Timing
There are three timing elements for every cue: one wait time, and one or more fade and delay times.
The wait time is the time between pressing the Go button and when that cue begins to execute.
The delay time is the time in between the cue starting (after its wait has elapsed) and the crossfade starting.
The fade time is the crossfade duration.
The reason there is a distinction between wait and delay time is that the wait time schedules the execution
of a cue inside a cuelist, whereas the delay time(s) schedule the execution of fades on different parameters
within a cue.
If you’re feeling confused about waits, delays and fades, look at the following cuelist and then compare it
with the diagram below to see how the cues will react.
Learn Timing
You can automatically set up cue wait times by using the Learn function. While this function is turned
on, every time you press the master’s Go, the console will store the correct wait time for the cues in the
currently selected cuelist. If Timecode is running, it will store the current Timecode frame instead.
The Learn Timing function only over-rides empty (ie. Halt) wait boxes. It will not replace a pre-existing
wait setting.
To use the Learn Timing function:
Cuelists • 59
1 Open the relevant cuelist window by holding Pig and
pressing the Choose button on the master.
2 Press Learn from the toolbar.
3 Now press the Go button as if you were running your
show. The console will automatically note the times
between your Go button presses and insert them into
your cuelist as Wait times.
4 When you are finished, remember to press Learn again
to de-select the function and stop the console from
inserting wait times.
Special Cues
Mark Q
A mark cue is a setup cue for your cuelist. It takes all of the information from the cue following the mark
cue and executes it as a follow on cue immediately after the previous cue for the fixtures that are at 0%
intensity.
For example:
Cue 1 fades up your fixtures on the drum riser in white.
Cue 2 fades the fixtures’ intensities to 0%.
Cue 3 fades up the fixtures in the keyboard position, and also in red.
When you run these cues in the your cuelist, cue 1 will execute normally, cue 2 will fade the fixtures,
leaving them in the same position; but when you run cue 3 you will see the fixtures move and change
colour as the intensity fades up.
To avoid seeing all of the movement and colour changes, you should insert a mark cue:
1 Select cue 3 by holding down the Choose button and
pressing the Go or Halt buttons to move the >> to point
to the cue.
2 Press Mark Q.
3 You will see a point cue appear between cues 2 and 3.
4 Run the cues again.
This time you will notice that when you execute cue 3 the fixtures are already in the correct colour and
position, and so all that cue 3 now executes is the fixtures’ intensity.
If the original cue changes, the mark changes automatically. Pressing Mark Q inserts a mark cue in front
of the current cue – the one with >> in the wait box. Mark cues only preset fixtures that are at 0% intensity.
Insert Link
There are two ways in which Link cues can work: they can either jump forwards or backwards within a
cuelist and are used to create loops, or to interrupt the normal flow of a cuelist by jumping to a different
point. Note that the cuelist loops back to the first cue by default, so that there is no need to add a link back
to 1 at the end of a cuelist.
Pressing Link Q inserts a link cue after the current cue – the one with >> in the wait box. The fade time
and delay time columns change to Cue and Count. In the Cue box, enter the cue number that you wish to
link to.
If you are using a Link cue to jump forwards in a cuelist, then this is all you need to do. No information
needs to be entered into the Count box.
If you are using a Link cue to link backwards in a cuelist, and therefore create a loop within your list then
you have some extra options, using the Count box.
The count column is used to enter the number of times that you wish to perform the link operation.
Entering zero will leave the field blank, which means that the link (or loop) will run continuously until
interrupted by a press of the Go button.
To edit the value of the Count box and specify your link of cues to loop around a particular number of
times:
Virtual Masters
Virtual Masters are masters that exist entirely within the desk and are designed to be used when you have
run out of playback masters or need to control a master remotely using MIDI. They behave like normal
masters in all respects except for the fact that they have an extremely limited physical connection to the
user since they have no buttons and no fader. Since they have no fader they default to working at full
intensity.
Virtual Masters are created and assigned as needed. Users can have an almost unlimited number of virtual
masters running different cuelists. Users should note, however, that the more things the desk tries to do at
once, the slower its response will get. If too many cuelists are all running at once then the desk might not be
able to respond quickly enough to more important functions such as sending DMX streams!
To replay a cuelist on a virtual master, the cuelist must not be connected to any other masters:
1 Press List or Macro to bring up the cuelist or macro
directories.
2 Use the cursor keys and ENTER to select the cuelist’s
entry in the cuelist directory.
Or
1 Press List or Macro
2 Type the number of the cuelist and press ENTER.
You will see that the ‘x0’ in the top right hand corner of the cuelist button changes to ‘VM’. This signifies
that the cuelist has been connected to a virtual mster. To the left of this will be a couple of other characters.
‘H’ signifies that the cue has halted and is waiting for a Go press, and ‘R’ signifies that the cue is running.
A plain number signifies progress through the cues as a percentage; a number preceeded by a ‘Q’ signifies
that the cuelist is on.
You can only run one copy of a cuelist on a virtual master at a time. That is to say, if you push the button in
the cuelist window a second time it does NOT allocate the cuelist to another virtual master. Cuelists are
only connected to a virtual master if they are not connected to another master of any type. Pushing the
button in the directory window when the cuelist is connected to a master (of any type) has the same effect
as if the cuelist were connected to a normal master and you pushed Go.
Button presses on a virtual master connected cuelist mimic the actions of the buttons found on normal
masters.
When a cuelist running on a virtual master is released the virtual master disappears. Cuelists that are
stomped get released. If the virtual master that cuelist is running on keeps disappearing it is probably
because it is being stomped by another cuelist; selecting the “Persist On Override” option will stop stomped
cuelists from being released. Virtual masters disappearing at the end of a cuelist is similar: if the “Stop
Release On End” option is selected the cuelist will be released once it reaches its end. De-selecting this
option will keep the cuelist connected to the virtual master.
Cuelists • 61
To release a cuelist or macro running on a virtual master, hold down the cuelist/macro
button on the menu bank and press Release. If you are using an HOG 500, this is not
possible.
Recording Macros
Keypresses can be recorded interactively. Keypresses are always recorded into cuelists in the macro
directory. To begin recording keypresses:
1 Press RECORD.
2 Press empty macro palette button.
Or
1 Press RECORD.
2 Press Macro.
3 Type in the number of a blank macro cuelist and press
ENTER.
All subsequent button presses will be recorded into the cuelist. If the ‘Learn Macro Timing’ Option
in the control panel window is set then the time interval between the previous and current button press will
also be recorded.
Only one macro can be recorded at a time; the console will not allow you to record another macro if a
macro is already being recorded.
Stop Recording
To stop recording:
Press and hold Pig.
Press RECORD.
To see the cuelist that has just been recorded press and hold Pig, then press Macro. The macro window
will appear. Use the cursor keys to place the selection box around the macro cuelist that has just been
recorded and then whilst holding Pig press ENTER. A cuelist window will appear that contains the
macrocues that have just been recorded.
Cuelists • 63
It will automatically record a Load View into the first cue, so that when a macro is run the windows
are set up in the correct places for palette buttons and mouse clicks. This does mean that the windows
that are currently onscreen will be lost. If the macro does not contain any palette button presses or
mouse clicks then the Load View cue can be removed. If additional key presses are appended then
another Load View cue will be recorded at the point where appending started. The Don’t Store
View option in the control panel window can be used to disable the automatic recording of desktop
views.
Wait For, Empty… cues are added after key presses which initiate complex tasks, eg, a load view
operation, or a record operation. The complex tasks take a small amount of time to complete. The Wait
For command waits for the task to complete before proceeding with the next cue in the cuelist. The
subsequent cue in the cuelist will automatically be set to a halt cue.
Extra cues may also be added at the end of the cuelist to release any keys which were still being pushed
when recording stopped. Typically this is the Pig key since the Pig key has to be held in order to stop
recording.
Additional Functions
Load View displays a desktop view. When editing the Load View cue you are presented with a
menu containing currently stored views. The view that is selected is copied into the cue, so it remains
the same even if the original desktop view is re-recorded.
Load Menu updates the contents of the menu banks. This is captured at the point at which recording
was started. There is currently no method of editing the contents of this type of cue.
Wait For is used to wait for a process that takes a substantial period of time, for example Beacon.
The Wait For cue adds the cuelist to a list of cuelists that are waiting, and once the process that is being
waited for has finished a ‘Go’ press is sent to the cuelist. The macro recording cue automatically sets up
the subsequent cue to be a ‘Halt’ cue, although there is no reason why the immediately subsequent cue
has to be the ‘Halt’ cue. If the Go button is pressed at any time then the cuelist proceeds as normal, and
is removed from the waiting list.
Message pops up a warning box. The text used in the warning box is taken from the comment field of
the cue.
Beep Not implemented.
Saving Macros
Since macros mimic user inputs and input devices vary between hardware platforms, ie. The HOG 1000
and 500 don’t have touchscreens whereas the WHOLE HOG II does, the HOG 1000 has more faders that
the HOG 500 etc, macros are not portable across the different hardware platforms. Macro cues that are
Macros are platform specific. You cannot transfer them between different platforms!!
Editing Cuelists
Holding PIG and selecting a cuelist in the Cuelist Directory Window opens a cuelist window for that
cuelist. Since the cuelist is not necessarily connected to a master some of the options may be unselectable.
These options will also remain greyed out if the cuelist is connected to a Virtual Master.
It is possible to insert Mark, Link and Macro cues without the cuelist being connected to a master. If the
cuelist is connected to a master then the cue is inserted at the current cue (the one with >> in the wait box).
If the cuelist is not connected to a master then the cue is inserted at the selected cue (the one with the
outline around it). Mark cues are inserted before the cue, link and macro cues are inserted after the cue.
Comment Macros
Comment Macros have been designed for triggering the Go, Halt, and Release buttons for other masters,
as well as changing page from within a currently running cuelist.
The Comment Macro commands are typed into the comments box of a cue using Set. The comment box is
the far right hand column for a cue in the cuelist window. They execute when the cue starts. If you don’t
have a cue at an appropriate point, record a blank cue.
The available commands are:
G Go - use this by specifying G and the number of the master which you wish to press the Go
button for, eg. G2 to Go the second Master.
S Halt (S is for stop), eg. S2 to Halt the second Master.
R Release, eg. R4 to Release Master 4.
P Page (Use the page numbers shown in the page window), eg. P12.1 to change to Page
12.1.
T GoTo cue, T followed by a decimal number does a “goto cue#” on the currently selected
master. eg, T3.2 will goto cue 3.2 on the currently selected master.
C Select current master - C followed by the master number selects that master to be the
current master, eg, C5 to select master 5.
J Release a Virtual Cuelist, eg, J6 to release Virtual Cuelist 6.
K Release a Macro, eg, K9 to release Macro 9.
L To mimic a Go button push on a Virtual Cuelist, eg, L6 will hit Go on Virtual cuelist 6.
M To mimic a Go button push on a Macro, eg, M9 will run Macro 9.
To distinguish the Comment Macro from a normal comment, it is preceded by >. Multiple Comment Macro
commands can be separated on the same line by :. A range can be triggered using >.
For example, >G2:G4>G7 triggers Go buttons on Playback Masters 2 and 4 through 7.
Cuelists • 65
Cuelist Contents Window
It is only possible to view this screen if you have an external monitor connected to your HOG. To view this
screen, hold Monitor and then press Content on the toolbar to open the cuelist contents window for the
selected cuelist:
This window shows what is programmed in the current cue of a cuelist. If you use Go or Halt to move up
or down the cuelist, the window will change to show the new current cue. You can use the << & >> screen
buttons to over-ride this and look at another cue without changing cuelist position. Access them and the
other screen buttons by pressing Pig and numbers 1 through 8 on the keypad with respective to the buttons
on screen reading from left to right. To view a specific cue, make sure the console is in monitor mode (the
red led in the Monitor button is lit and the header bar on the external monitor is blue) and press Set. Type
in the cue number and press Enter.
Alternatively, if you have a mouse or trackball connected to the console, you may use the mouse pointer to
click on the buttons on the external monitor. The mouse/trackball MUST NOT be in PAN/TILT mode for
this function to work.
Only programmed values are actually shown in the display, and they are displayed in different colours:
Black Programmed in the displayed cue but unchanged from previous cues.
Red Parameters changed from the previous cue; Intensity levels going up.
Green Intensity levels going down from the previous cue.
White The level was programmed in a previous cue, and is not changed in this cue.
In addition, the programmer contents overlay themselves over this window to aid programming:
White fixture number The fixture is selected in the programmer
Blue background The level is set in the programmer
Selecting the Hide Prog button with the mouse/trackball pointer or by pressing Pig and 8 on the keypad
will hide the values in the programmer that have a blue background, and display the contents of the cue in
the text colour to suit the conditions of that value. Fixtures in the programmer will still have the white
background behind the fixture number.
Follow
On the cue list menu bar you’ll find Follow which toggles in and out of “screen lock” mode, similar to
Scroll Lock on a PC. With Follow selected, the cuelist window holds the current cue in the middle of the
screen as you go through the cue list. With Follow de-selected, you are free to page up and page down
through the cuelist window as you wish.
Unblock
Use Unblock to eliminate hard commands (programmed parameters that are the same in a previous cue)
from cues.
Renumber
Pressing Renumber in the bottom cuelist toolbar renumbers the subsequently selected cues. This is useful
if you have mixed up the fixture numbering and you wish to bring some semblance of order to the fixture
numbering.
1 Press Renumber from the cuelist toolbar.
2 Select the cues to renumber.
3 Press ENTER.
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10
FLASH
FLASH
GRAND
GRAND
MASTER
MASTER
11 22 33 44 55 66 77 88 99 10
10 11
11 12
12 13
13 14
14 15
15 16
16
Masters
The Masters are the bank of faders and buttons located to the left of the programmer. Each Master has the
power to control a complete cuelist, a single chase, or a single cue; all of them can be run simultaneously or
in any combination.
Each Master includes four buttons and a fader. They are, from top to bottom:
Choose Used to select the master during programmer mode, and to set the master as selected. The
selected master is the master that is controlled by the Central Controls. It is also the master
that is the default destination for programming operations, eg, Record, Copy, etc.
Go Press Go to start a cue fading and start the cuelist executing cues (running). If the cuelist is
already running, press it to skip cues or to exit from loops.
Halt Instantly halts any crossfading cues, and stops the cuelist from running. Pressing Go will
resume fading and execution of cues. Once a cuelist has been stopped with an initial Halt
button press, pressing Halt again fades backwards through the cuelist.
Fader Fades the cuelist’s intensity. You can configure the cuelist so that its intensity is controlled in
an HTP or LTP fashion. You may also assign the fader as an ICBF fader which controls all
parameters rather than just the Intensity parameter.
Flash Bumps the cuelist’s intensity to full. You can configure the cuelist so that its intensity is
controlled in an HTP or LTP fashion.
Alternate Actions
Holding down the Choose button while using a Master’s controls will give different actions:
Choose + Go Step to the next cue without fading and without starting the cuelist running.
Choose + Halt Step back to the previous cue without fading and without starting the cuelist
running.
Choose + Flash Activates the master. This is like pressing Go, but the cuelist does not start
executing cues, and stays on the same cue. Use it to reassert a master that’s been
over-ridden.
Choose + Fader Manually crossfades all the cuelist’s programmed parameters.
Playback • 69
Other Playback Controls
Grand Master
The Grand Master is the overall intensity control for the entire console. Most often, it’s simply left at full.
Only intensity parameters are controlled by the Grand Master; it has no impact on colour, beam or focus
parameters.
DBO
The Dead Black Out button sits above the Grand Master. When pressed, it immediately brings all intensity
levels to 0%, where they’ll remain as long as the button is held down.
DBO
Release DBO to immediately restore light to the stage.
Note that any changes caused by the Grand Master fader or DBO button are intentionally
NOT reflected in the Stage Output display. If the display changed then you would have no
reference as to what would happen when you restore the console to 100% output.
Goto
To jump straight to a cue, and start the cuelist running on the currently selected master:
1 Press Goto button (located on the Left Hand Side of the
Main Display).
2 Enter the cue number to jump to, say 45.
3 Press ENTER to execute a fade to the destination. The console
will use the fade time of the incoming cue.
Master Precedence
Because the console can simultaneously run sixteen (or eight) separate cuelists on faders and more on
virtual masters, there is possible conflict over which master actually has control of a parameter. In order to
decide which master has control, the console applies the following rules:
For focus, colour and beam parameters:
• The console uses Latest Takes Precedence (LTP). This means the most recently activated masters will
override earlier masters (Note: Only the specific conflicting parameters are over-ridden; non-
conflicting parameters on the earlier masters will be left untouched).
• Releasing overriding masters will return the overridden parameters back to the control of the old
masters.
• Masters which are fully over-ridden (ie. all programmed parameters have been over-ridden by other
masters) are released automatically as soon as all parameters are over-ridden. This is called stomping.
• The Programmer always has priority over the Playback Masters (remember, you can press Blind to
suspend Programmer output).
Cuelist options exist for fully customising the priority scheme for a cuelist. See the Cuelist Options section
of this chapter for more information.
Default Values
When no playback masters are active, and nothing is selected in the Programmer, the console will output
the default values for each parameter of every fixture. These values may be modified in the fixture library
of each individual fixture.
Playback • 71
All these options are stored in the cuelist. If you change to a different cuelist (by changing page, for
example), the option settings may change and the Master will behave differently.
Fader Action
Faders are used for controlling Intensity levels. Intensity from different masters is combined together
according to the options set for each cuelist:
Use HTP Sets intensities to Highest Takes Precedence (normal operation is Latest
Takes Precedence).
+Go when off 0 Go is also pressed automatically as soon as the fader is moved from
zero.
Crossfade IFCB Sets fader to control all parameters (ICBF) within the cuelist.
Go Action if Running
These options determine what happens when the Go button is pressed while a cuelist is already executing
cues.
Start next, skip loop Starts next cue immediately. Or, if the cuelist is in the middle
of a loop, it goes immediately to the first step after the loop.
Start next, exit loop at end Starts next cue immediately. Or, if the cuelist is in the middle
of a loop, it completes the loop before moving on.
Restart Restarts the cuelist at the first cue when Go is pressed.
Stop at next cue Finishes fading the current cue, and stops at the next cue. In
contrast, Halt freezes the current cue instantly.
Manual Fade
This is the fade time used by the cuelist for all manual operator activity, namely
• Releasing.
• Jumping to different parts of the cuelist using Goto.
• Using Halt to go backwards.
This fade time is also used for fading operations where no other appropriate time exists, namely fades for
jumping inside a cuelist, where the parameters are not in the immediate next cue (ie, the fade time used for
resetting the ‘state’).
Priority
Latest Takes Precedence cuelists can be prioritised manually to prevent certain masters over-riding others.
If there is a conflict between two cuelists sharing the same priority level, then normal LTP rules apply.
Advanced Options
Further options designed to get the cuelist to respond the way you would like.
Add blank 1st cue Inserts an empty cue at the start of the cue list, as a safe place for the
cuelist to rest before starting, or after the last cue in the list has been
executed. This is useful when you want to start with the first cue, but
don’t want to have to release the master to do so. This function is turned
on automatically when timecode is used.
Reset when released Resets the cuelist to the first cue when released. Normally, the cuelist
will remain on the current cue, and will restart there if you press Go
again.
Maintain state The cuelist automatically outputs the cumulative effect of all its cues
(the state), even though only changes are recorded in cues. If this option
is not selected, then only the information specifically programmed in
each cue will be output when that cue is active.
but not in jumps If Goto or a link cue is used to jump to a new cue, the state will not be
recalculated to reflect the programming in the jumped cues.
Stop Release on End Cuelists that are recorded in the macro directory automatically have this
option set to stop and release them once the end of the cuelist is reached.
This allows them to be run on virtual masters cleanly and neatly; once
they have completed they release themselves ready to be re-run.
All these options are stored in the cuelist. If you change to a different cuelist (by changing page, for
example), the options may change and the Master will behave accordingly.
Chases
Chases are nothing more than cuelists with the timing over-ridden. Each step of the chase is a cue in the
cuelist.
To create a chase:
1 Record a series of steps just like you would to create a cue list.
2 Open the cue list Options window on the cuelist toolbar (hold
Pig and press Choose button, then press Options on the
toolbar).
3 Press Chase. Your cuelist has now been turned into a chase.
Chase Timing
A chase plays back its steps (cues) using beats per minute (BPM) to control the rate, and crossfade % to
control the amount of fade between steps.
There is no upper limit on rate nor crossfade %. A crossfade of 0% means that the chase will snap change.
A crossfade of 100% means that the chase will fade smoothly from step to step, with no intervening
stationary time. A crossfade of 200% means that only half the crossfade will be completed before moving
onto the next step.
To adjust rate and crossfade:
Playback • 73
1 Hold down the master’s Choose button. The parameter wheel
display will change to show Rate and Fade % (the right wheel
becomes the console rate, a console-wide rate control).
2 Adjust the left (Rate in Beats Per Minute) and centre (Crossfade
in %) parameter wheels.
3 When you are happy, just let go of the Choose button and the
settings that you have made will be stored automatically. You
need press no other buttons. If you wish to re-adjust the values at
any time, just hold the Choose button down and adjust the
values as before.
Cues inside a chase do not have to have simple default fade and delay times. You can
adjust them parameter by parameter as though they were a normal cue.
Chase settings
In the options window, you can select the chase direction:
Up The chase runs from the first to the last step.
Down The chase runs from the last to the first step.
Ran (Random) The chase randomly picks the next step.
Bwn (Bounce) The chase runs from the first step to the last, then back to the first, etc.
Saving a Show
To save a show:
1 Press Setup. You will see the usual setup toolbar.
2 Insert a standard 1.44 MB 3 1/2 floppy disk into the disk drive in
the side. The disk need not be formatted.
3 Press Save Show.
4 Press Okay to confirm the save. A progress window will open and
list the items it’s saving as it goes along. Save finished
okay appears when everything has been copied to the disk. If
your show is larger than can be stored on one floppy disk, you
may have to delete unused cues/lists in order to save it.
5 Press Okay to finish.
If you change to a different show, make sure that you have saved your current show, since
you will lose all of its programming.
To load a different show from floppy, insert the show disk and press Load Show. The console will ask
you to confirm that it is okay to lose the current show. Then a progress window will open that lists each
Naming a Show
To avoid mixing up disks and accidentally overwriting a different show, give your show a name before
saving it.
To name a show, use the cursor keys to select the box labelled “Name of current show in memory”, and
press Set and type in a name.
The floppy disks on which the shows are saved are labelled with this name plus a number. The number
refers to the disk number. 1 for Disk 1, 2 for Disk 2, etc. If you ever need to change a disk’s label (such as
when using a show downloaded from the Internet), use a Windows PC (File Manager, Windows Explorer),
or DOS (label a: ), or a Mac.
Format
To format a disk, insert it into the drive and press Format followed by Okay.
It’s a good idea to periodically reformat your disks. Disks can develop bad sectors;
reformatting can spot this and prevent you from losing data. Reformatting will erase the
contents of the disk!
Verify
If you’d like to be sure that your show has been properly saved to disk, turn on the Verify option in the
toolbar. When it’s on, the console checks the disk while saving to confirm accuracy of the save. Saving in
this mode takes about twice as long as a normal save.
Merging Shows
Using the Change Show window, you can select items from a different show and merge them into your
current show.
To merge items into your new show
1 Insert into the disk drive the floppy containing the show you are
merging from.
2 Open the Shows window. If you do this before inserting a disk,
the Change Show window will not show what is in your disk, so it
will not be possible to pick items for merging.
3 Pick items for merging from the merge list below the toolbar by
selecting them with ENTER. Note: the palettes will be selected
automatically as soon as you pick something that depends on
them.
4 Press Merge. A progress window will open to show you the
progress of the merge.
If you merge in a cuelist, but don’t merge in associated palettes, you have to make
absolutely sure that the cuelist has been programmed using the palettes that are already
programmed in the console. If the console cannot find a palette when it merges in a cuelist,
it will ignore all programming associated with that palette.
Don’t turn off “Match by name only” if you are trying to merge palettes that come from
different shows.
• Split the programming between cuelists. For this to work, each console must start with the same setup
and palettes. This is best done by setting up and making palettes on one console, then saving to disk and
loading onto the other console. From then on, parallel programming of cues and cuelists can occur.
When you come to merge back into one console, just select cuelists to merge. Do not merge the palettes
back, since you will end up duplicating existing palettes, with some cuelists using one set, and the
merged cuelists using the other.
When saving shows as versions that are older than version 3.2 (build 116), you will need to use fixtures that
were loaded from a fixture file on disk rather than fixtures that were part of the ROM library built into the
console. If you try to save a show containing fixtures from the ROM library as an old version, you will get
an error window pop up with the following message: “Fixture types from ROM library cannot be saved in
this format. Remove the following types before trying to save as this version:” followed by a list of fixtures.
If the fixtures in your patch were loaded from the ROM library, you will not be able to save
them into shows saved in formats 3.2 (build 114) or earlier.
Hardware Control
Setting the LCD Contrast
To set the contrast on the LCD screens, hold down Setup button and move the centre parameter wheel to
adjust the main display, and the right wheel to adjust the menu and playback displays.
Console Locking
There are two locking options: Lock Edit which just locks the programming and editing functions, and
Lock All, which locks everything.
To lock the console:
1 Press Lock Edit or Lock All.
2 A prompt will appear asking you for your PIN (personal
identification number).
3 Press ENTER to lock.
With Lock Edit, the menu button will be dark to indicate that the lock is on. To unlock, press Lock
Edit again and enter your PIN.
With Lock All, a warning window will appear indicating that the console is locked. There is an entry
box for entering your PIN to unlock.
If you use the locking feature, make sure you remember your number. There’s no way to
access your show otherwise.
Cuelist
To change the default settings used for cuelists:
1 Press Cuelist.
2 Adjust settings as desired using cursor keys and press ENTER.
3 Press Okay.
Note: When you change the cuelist defaults, only those cuelists created after the change
will be affected.
Menus
Because different console operators have different preferences with regard to the panel layout, it is possible
to arrange the menu palettes in any order you like.
This function will only work on an HOG 1000. The HOG 500 does not have any menu
palettes and hence it will not have the Menus option in the toolbar.
Event Monitor
The Event Monitor is used to troubleshoot the console. It is accessed from the Control Panel Window by
pressing Ev Monitor on the bottom toolbar. Pressing a button on the console or external keyboard,
moving a fader, parameter wheel or the mouse trackball will display information on the LCD. To exit you
hold down the PIG key and press ENTER to exit the event monitor.
If you suspect that a fader or button is not working on the console, you can use the event monitor to
accurately determine what works and what doesn’t by looking at the information shown on the main LCD.
Debug Information
This function is for Software Development purposes and will not generally be used. It is accessed by
pressing Dbg Info in the Control Panel Window. The only time when you may need to use it is if instructed
to do so by a technician when trying to find and solve console problems over the phone.
Updating Software
Although future software versions will be loaded from the Control Panel, for the time being it must be done
differently.
The quickest way to upgrade your HOG is through the Internet; to access the Jands page on the World
Wide Web, use http://www.jands.com.au. Select the Download page, then choose HOG & Hog Software
and go to Operating System Software. Transfer the two new files to a pair of IBM-formatted floppy
diskettes (if you choose the zipped versions, you’ll need to unzip it first). The file JNT2.BIN goes on the
first disk, the file JNT2B.BIN goes on disk 2.
Loading these upgrades into the console is simple:
It is inadvisable to load new software in the middle of a show’s run. In general, if you have
a show that works and don’t need any of the new software’s features, then leave things as
they are. Even though we go to great lengths to test new software, a bug might get
accidentally introduced.
Memory Control
Before performing an operation, the console checks to see if it has enough memory. If memory is running
low, it will give an alert saying Not enough memory. In some instances, you may not have enough
memory to save your show—in this situation, you will have to delete items until you have enough memory.
In low memory situations, playback may also get disabled. User alerts will tell you when this has happened.
Again, to restore playback, delete unessential programming.
To help prevent low memory situations, a memory counter in the control panel shows the total memory left.
Also shown is the corresponding number of full cues you can program. Note: a full cue is a cue with all
channels programmed—much larger than a typical cue—so the full cue number will always understate the
number of cues left.
Custom Options
An options text file called "\setup\moreopts.txt" is now saved as part of the show. Edit it to change the
more esoteric console options. Current options supported are:
version = 28 the format version of this file (don’t change this).
MIDI_step_back = 0 set to 1 to enable MIDI output from cue comments on
stepping back (default = 0).
ignore_same_page = 0 set to 1 to prevent a page reload if you change to the
page that you are already on (default = 0).
release_needs_choose = 0 Set to 1 only allows Release to work in combination with
Choose or Pig. Set to 0 allows Release to work as normal,
on its own or in conjunction with Choose or Pig (default
= 0).
delay_before_repeat = 20 Value in hundredth of a second. If you hold down the
cursor and scroll keys, the keys will now repeat after
the amount of time specified here (default = 20).
repeat_interval = 5 Value in hundredth of a second. The repeat interval
between automatic key repeats when holding down a cursor
or scroll key (default = 5).
Postpone_htp_assert = 0 Set to 1 to enable an incoming HTP master to only assert
itself on a page change if:
* The outgoing master was also an asserted HTP master,
* The slider is pulled to 0 and then moved up again,
* Go is pressed
For example, this would be used to stop a master
unexpectedly jumping to full, if the fader is up and you
change pages from an LTP cuelist to an HTP one.
If the option is off or not specified, an incoming HTP
master will automatically assert itself.
This option affects the behaviour of all masters, and
cannot be set on a master by master basis.
The channels view shows the patch location for every parameter of every fixture.
3 Use the cursor keys to select the User Num box corresponding to
the fixture you wish to renumber. To consecutively number all of
one type of fixture, select the box on the ALL line.
4 Press Set and enter the fixture number or the starting number if
changing all of the fixtures. Note: You cannot give the same
number to multiple fixtures of the same type.
5 Repeat steps 2 through 4 until you have renumberd all the fixtures
to suit your show.
6 Press Okay to return to the Patch Window.
If a range is selected, subsequent cells are assigned consecutive values. Numbers are always shuffled so as
to be assigned to fixtures in numerical order. Two fixtures of the same type may not share the same user
number. An asterisk next to a number indicates it is shared by fixtures of another type.
Once you have set up your user numbering, you can use them to patch, but remember you
will still need to use Group and Fixt Part to access different patch parameters of a multiple
patching fixture such as a VL5.
Fixture Alignment
Occasionally it’s necessary to hang a moving light upside down or sideways. To have all of the fixtures
moving in the same direction regardless of how they’re hung, use the fixture alignment features in the
Fixture Editing Spreadsheet.
To change an alignment:
Range Labels
Press Set and type in a label for the range. Ranges which do not appear in automenus have a ‘#’ next to the
heading.
Note that auto menus incorporate any changes made in the fixture spreadsheet, so that if
range labels are swapped or changed, the palettes will reference the new ranges
(automenus must however be regenerated to take account of any subsequent
modifications).
MIDI Timecode
The HOG can only receive MIDI Timecode. It has programmable error correcting features. The console
can also simulate Timecode to help with programming when the Timecode source is not ready.
Console Inputs • 89
Bad Timecode tapes will have drop outs that look to the console like Timecode jumps. Increase the value in
the Jump after /frms: entry box to reduce the sensitivity of the console to jumps in Timecode signal
(the default value is 15 frames).
Rewinding
There is no need to do anything to the master when rewinding the tape. When you start playing Timecode
again, all active masters will reposition their cuelists to the correct position in the cuelist.
Simulating Timecode
If you don’t have a Timecode source available, you can simulate Timecode in order to test /run your show.
From within the Input Panel Window, select the Timecode Source as Simulate. Open the Timecode
Control panel by pressing TC Cntrls, and press TCode On. This will start simulating Timecode. To
stop the Timecode, press TCode On again.
To reset the Timecode to one of three preset Reset values, press either Reset 1, Reset 2 or Reset 3
on the Timecode control panel (lower toolbar).
To change the Timecode start frame, use the cursor keys and the keypad to alter the respective Reset:
value. If Timecode was not running, start it by pressing TCode On.
Cues will now be triggered by Timecode.
• MIDI show control (MSC) messages, such as from a show control sequencer, or another console with
MSC support.
MIDI Transmit
The HOG can transmit:
• MIDI note data (to send to a slave backup console, for instance). Press Notes Out to turn on.
• MIDI show control messages (to trigger other show control equipment). Press MSC Out to turn on.
MIDI Notes
Console Inputs • 91
Here is the default MIDImap.txt file from an HOG show disk:
version = 40
; NB: MIDI Note & Controller numbers range from 1 to 128
group_menu = note:1
position_menu = note:2
colour_menu = note:3
beam_menu = note:4
macro_menu = note:5
page_menu = note:6
choose = note:7
go = note:8
halt = note:9
flash = note:10
fader = note:11
lh_tool = note:12
rh_tool = note:13
keypad = note:14
wheel = note:15
touchpanel = note:16
others = note:17
coord_x = controller:1
coord_y = controller:2
fader_val = controller:65
wheel_val = controller:66
flash:8 = note:47
ext_keys = note:18
func_keys = note:19
Console Inputs • 93
Controllers 33 to 64 are the LSB parts of controllers 1 to 32, so are unavailable.
Console button events can only map to MIDI notes, polyphonic aftertouch and program change (note that
faders are also button events as they refer to which fader was used; the actual values are sent separately).
Continuous values (like a fader position) can only be sent via a controller, pitch wheel or channel
aftertouch. In addition, coord_x & coord_y must be mapped to a 14 bit controller, ie, controller 1 to 32 or
pitchwheel.
All console numbering starts at 1 rather than 0, eg, use fader 1, not fader 0.
When several buttons are mapped to one note (eg, choose = note:7) then the velocity data of the note is
used to index the actual choose button being pressed.
Some keys cause events to occur when they are released as well as when they’re pressed - if a single key is
mapped to a note then the console will respond to either a note off or a zero velocity to release the key. If a
key that needs a release message is mapped to a non-releasable MIDI event (like program change) then a
warning will occur when the show disk is loaded.
Others
Set others:1 Time others:35
Setup others:2 Blind others:36
Slash others:3 Try cue others:37
Dec others:4 Pig others:44
Minus others:5 Next page others:45
Plus others:6 DBO others:46
Thru others:7 Release others:47
At others:8 Skip up others:48
Full others:9 Skip down others:49
Backspace others:10 Cursor up others:53
Enter others:11 Cursor down others:54
Group others:12 Cursor left others:55
Position others:13 Cursor right others:56
Colour others:14 Begin others:57
Beam others:15 End others:58
Active others:17 Page up others:59
Next others:20 Page down others:60
Copy others:21 Page left others:61
Move others:22 Page right others:62
Delete others:23 Effect others:63
Undo others:24 Menus others:65
Clear others:25 Monitor others:66
Load others:26
Update others:27 Whole Hog II Specific
Record others:28 Main stop others:50
Macro others:29 Main go others:51
Page others:30 Activate others:52
Cue others:31
List others:32
Highlight others:33
Goto others:34
For example, to map the Record key to middle C then the midimap.txt entry would be others:28 =
note:72.
Reference Table
The following table gives the structure of the more common MIDI messages. The status byte is given in
hexadecimal format and, for those messages which are channel specific, ‘n’ represents the channel number
(which can be between 0 and F hex).
Message Status (in Hex) Data 1 Data 2
Note off* 8n Note number Velocity
Note on 9n Note number Velocity
Polyphonic aftertouch An Note number Pressure
Controller Bn Controller number Value
Program change Cn Program number
Channel aftertouch Dn Pressure
Pitch wheel En Least Significant Byte Most Significant Byte
The channel numbers that appear in the input window, and the note and index values that
appear in midimap.txt are all one greater than the actual MIDI data. This is because the MIDI
values begin at zero rather than one.
MIDI Show Control and WYSIWYG Autofocus commands are achieved by means of system exclusive
messages.
Console Inputs • 95
MIDI Show Control Messages (MSC)
For a full description of how MIDI Show Control works, we recommend reading the latest MIDI Show
Control Recommended Practice from the MIDI Association.
MSC messages contain a device ID and a format number. Make sure that you setup these numbers in the
window entry boxes correctly.
MSC has been implemented on the console to send “absolute” messages (ie, not depending on current cue
positions, arrangement of cuelists on masters, or keys being held). This means that the greatest playback
accuracy can be achieved, even if manual over-riding leads to cuelists being in the wrong place or out of
order.
The following is an implementation chart for seeing how console actions lead to transmitted MSC
commands:
Console Action MSC Command Data Description
The 24 Hour Clock panel allows you to set the time and date in the console, as well as program daily and
hourly triggers for comment macro style commands. The 24 hour clock and calender in the HOG is not
affected by the Millenium bug, also known as the Y2K bug. It will correctly change from the year 1999 to
2000, and it correctly identifies the year 2000 as a leap year.
Daily Triggers
Daily triggers allows you to leave the console running unattended and at a set time (or times) each day, the
console will trigger a comment macro. To set a daily trigger:
1 Move the selection box to the Daily Triggers box and
press Set.
2 Type the hour: minute value, followed by the trigger
command using comment macro syntax (ee Macros in
the Cuelist chapter for more information).
3 Hit Enter when finished.
4 To enter another daily trigger, press the down cursor key
and another trigger box will appear. Repeat steps 1 to 3.
You can enter multiple daily triggers, although only 4 triggers will show on screen at any one time. By
using the cursor keys, you can scroll through the list of triggers.
Hourly Triggers
Hourly triggers allows you to leave the console running unattended and at a set time (or times) each hour,
the console will trigger a comment macro. To set an hourly trigger;
1 Move the selection box to the Hourly Triggers box and
press Set.
2 Type the minute value, followed by the trigger command
using comment macro syntax (see Macros in the Cuelist
chapter for more information).
3 Hit Enter when finished.
4 To enter another hourly trigger, press the down cursor
key and another trigger box will appear. Repeat steps 1
to 3.
Console Inputs • 97
You can enter multiple hourly triggers, although only 4 triggers will show on screen at any one time. By
using the cursor keys, you can scroll through the list of triggers.
Astronomical Clock
The astronomical clock functions share the real time clock triggers window found by pressing Setup,
Inputs, 24 Hr Clock. Sunrise and sunset triggers are programmed in the same manner as hourly or
daily trigger, however the time is relative to sunrise or sunset respectively. A “>” seperates the time from
the actual macro being initiated.
eg, to set a trigger to occur at sunrise precisely one would enter “0>” followed by the trigger macro.
eg, to set a trigger to occur 20 minutes after sunrise the time entered would be “20>”.
eg, for a trigger to occur 2 hours and 20 minutes before sunrise, the time would be “-2:20>”.
In order to calculate sunrise and sunset accurately the console must know its geographical location. This
information is entered in the top right of the same window. A drop down list of cities worldwide is
provided, and the simplest option is to select your city from the list. This will automatically set the correct
longitude, latitude and timezone in the neighbouring boxes.
If you do not live in any of the listed cities (they are listed alphabetically first by country, then by state
where appropriate) then choose the nearest location to you. If this is fairly close (within 100km) then it
should be sufficient. If you are not close to any of the listed cities you will have to enter the geographical
data manually. The timezone should be entered as the offset between GMT and your local time without
their daylight saving time adjustments. The longitude and latitude are entered in degrees and minutes west
and east of the Greenwich Meridian, and north and south of the equator. This data should be available from
local information resources.
The final element required for operation is the present time and date. The time and date are set as usual,
however a DST (Daylight Saving Time) toggle has been added to indicate whether the time is adjusted for
daylight saving (summer time). Setting and clearing this toggle will automatically add or subtract an hour
from the preset time. Unfortunately the state of this toggle is not retained with the time and date
information, nor is it saved with the show. Therefore you must check the time and date whenever a show
with astronomical triggers is loaded.
In a long-term situation the user may choose to leave the clock set to standard time (not
adjusted for daylight saving) permanently. In this case the times calculated will still
correspond to the actual sunrise and sunset, even though the console clock may be an
hour off local time for part of the year.
Given the correct information, the console can calculate the sunrise and sunset times to within 5 minutes –
in almost all cases it will be somewhat more accurate. However local factors such as atmospheric
conditions (cloud cover), height above sea level, and height of surrounding terrain may slightly alter the
time at which light conditions actually change. The sunrise/sunset triggers will operate best when triggering
slow crossfades between day and night lighting states, or for initiating non-time-critical changes.
Experiment with your local conditions!
Hardware
I have to reload a show from disk every time I turn on the power.
It’s likely that the battery is flat. Return console to your authorised service agent for a replacement battery
to be installed.
The screens are black and I can’t see anything.
Try pressing Setup and turning the middle or right parameter wheels to adjust the contrast.
During disk access the DMX signal drops causing a flicker in the fixtures. Can that be fixed?
This will eventually be corrected with software modifications.
Setup
The console is sending out erratic DMX.
Make sure the fixtures and the HOG are receiving power from the same source. If this is not possible, use a
DMX opto isolator between the console and the fixtures.
Try terminating the end of the DMX line with a DMX terminating plug.
I’ve patched my fixtures, but they aren’t responding as they should (or they’re not responding at all).
There are a few things worth checking:
• Make sure the Grand Master is up.
• Make sure Blind is not on.
• Make sure the switches and addresses on the fixtures are set correctly. Consult fixture manual for
further information on this.
• Make sure the console is properly grounded and that it’s on the same power source as the fixtures.
• Test the cabling. Use a DMX tester and work your way down the data line from the console to the
fixtures.
• Make sure the fixtures have the correct EPROMs on board. Manufacturers sometimes include new
software in fixtures that changes the channel definitions.
• Make sure the fixture patching corresponds with the fixture address settings.
Programming
I can’t see all the Beam parameters in the Programmer Time window.
Make sure that Beam has been selected in the Control Panel Keep Parameters Separate section.
I recorded a cue, but nothing appeared in the cue list.
Make sure the desired cuelist was chosen.
The clear restore button stays on even when programmer is cleared.
Make sure you've patched all your fixtures.
I have selected Cybers & VL5 groups. When I select a colour, the Cybers change, but VL5's don't.
You pressed a palette that only contained information for the Cybers.
My I-beams or Cybers will not respond to colour or gobo timing, even through I'm using the M
speed.
Make sure the fixtures are set to the correct personality setting.
I'm trying to create a palette with ICBF in it, but I only get colour (or focus or beam)?
Adjust the Masking settings while recording.
If I program colour mix channels, the colour wheel gets programmed as well, even though I didn’t
touch it.
All the colour parameters are linked; recording one records the others. You can unlink them by using the
control panel Keep params separate option. If you do unlink them, watch out! People usually
become confused by forgetting to touch all the wheels when recording looks.
My colour changer will not crossfade to the new colour even though I've put timing on the cue.
The colour parameter may be set to snap change in the fixture library. Either change it there or set the path
to 0.
If I change a cuelist on one page, will it change on the other pages.
Yes.
If I change the cuelist option settings, does this apply to all cuelists or just this one?
Just the one being changed. The options are specific to each cuelist. To change all, use the control panel
Cuelist defaults function.
How can I copy a palette created for x amount of lights to another light if I decide to add it to the
patch afterwards.
When making the palette, make sure that you specify for one fixture only. All fixtures will then use this
value, as will all additional fixtures added later (of same kind).
How do I knock out individual parameters from a Q or a palette?
Load cue/palette, select the fixture, hold Undo, move the relevant parameter wheel, press Update,
ENTER.
How do I remove fixtures from a cue?
Load the cue, select the fixtures, press Knockout, press Update.
How do I remove a fixture from a cuelist?
Select the fixtures to remove, press Pig and Active to grab all parameters, record with the Remove option,
select all cues in the destination cuelist.
Can I give a cuelist a name?
Yes. Go to the cuelist window. Select the cuelist. Press set. Type in the name. Press ENTER.
100 • HOG – Version 3.20
Do I have to keep pressing Back space after set to erase what’s already there.
No. Just start typing and the old items get wiped out.
If I accidentally hit Update, how do I get rid of it?
Press Backspace.
Do I need to press the @ before Full, ie, 6 Full.
You can hit Full straight off, provided that that you've just done a selection.
Is there a way (besides using the open white palette) to record values into all parameters?
Select fixtures, PIG+Active grabs all parameters of selection. Or Record with 'Everything'
How I can change the Open White parameters.
Either edit the palette itself or edit the parameter default values in the library file.
Move choose syntax does not move a cuelist from one fader to another. It gets copied instead.
This is correct. Actually, it doesn't get copied, it gets referenced again. It is as though you had “moved”
from the cuelist directory in the first place.
When I merge in new times to my cue, the times don’t get changed.
You need to merge values and times at the same time. You cannot currently merge time on its own. Also,
make sure you turn off the time mask when you do the merge.
When do you see the Update Dialogue box?
If you over-ride lights in the programmer with first pressing Load, then hit Update, it gives you a window
of things to change.
Playback
My timing seems all screwed up and the actual fade time is not what I have entered in the cues.
Check to make sure that the Single Q Rate, Cuelist Rate and Console Rate settings are at
100%.
I created a chase on my fader, but want to adjust the rate on the fly.
Hold down choose on the chase’s Master and dial the parameter wheels.
I have an Intensity Only cue on a fader, but nothing happens when I bring up the fader.
If it’s an LTP fader, you must press GO first. Otherwise, set it to be HTP. Also, make sure that the Add
blank first cue option is off.
My cues are playing back differently than how I programmed them.
This is likely a State problem. See the Summary of Editing Options section in the Cues, Cuelists, and
Pages chapter.
I've recorded a cue to a fader, but when I advance to the next cue it stays in the same look.
Try clearing the programmer.
I have only one page. How do I create more?
Press an empty page in the page window or press Page and the page number followed by Enter.
When I change pages all my cues fade out. How can I hold a few over?
Hold choose while changing page for the cuelists to hold over.
Can I run cuelists from the cuelist directory window?
No. They must sit on a fader.
When I change pages, my cuelists get released even though they’re on a template.
Make sure you haven’t re-recorded your template cuelists into your normal pages. If so, the template gets
continually over-ridden by new pages.
I can't get Save Activity to work.
Save Activity only works on current page.
When I’m playing back a long cuelist, the page does not scroll automatically when you hit the GO.
Turn on the Follow option on cuelist display.
I'm unable to scroll through a cuelist. It always jumps back to the top of the list.
Turn off the Follow option
I really need a way to jump to any point within my cue list and continue on from there.
Try Goto 100 ENTER. Make sure the master is selected.
Pig functions
The chart below shows what happens when PIG is pressed in combination with other items:
Parameter Wheels Fine movement for parameters larger than 8 bit.
Palettes and Groups Deselects chosen palettes and groups.
. Minutes
Active Puts values into all parameters for currently selected fixtures in programmer
Clear Restore Restores programmer to its previous state before Clear Restore was
pressed.
Next Goes backwards (Same as Previous).
Next Page Goes backwards (Previous page).
Release Releases all Playback Masters.
1 through 9 Select buttons (left to right) located on the external monitor.
Setup functions
Setup also has special functions when used with other items:
Left Parameter Wheel Adjusts desk lamp brightness
Centre Parameter Wheel Adjusts main LCD contrast
Right Parameter Wheel Adjusts other LCD contrasts
External Keyboard
When using the keyboard, the letter keys obviously let you type names, which may be easier than using the
menu buttons to name items. The following also duplicate console keys:
Type Specifiers
F1 Group F2 Position F3 Colour
F4 Beam F5 Macro F6 Page
F7 Effects F8 List F9 and T Time
Others
S Setup N Next Ctrl Pig
+ Plus (+) - Minus (-) * or X Thru
/ Slash (/) Numlock Set 0-9 0-9
The main command keys might perform unwanted operations if accidentally pressed. So on an HOG
external keyboard, the Alt key must be held down in order for the command to be accepted. The Alt key
may be released once the command key has been pressed, even if the command key is still being held
down. Adding the line “no_keyboard_guard = 1” to the file moreopts.txt will disable this protection. This
protection is not present on the HogEdit offline editor (available from the Flying Pig website
http://www.flyingpig.com).
Key Mapping
The mapping given is for an English (US) keyboard. Other keyboard layouts may differ slightly, but the
HOG commands will remain on the same physical keys, regardless of what their labels happen to be. Use
the diagram below to identify the keys on your particular keyboard.
Choose
Choose also has added functionality when used in combination with the following:
Go Step up
Halt Step down
Flash Activate without “going”
Fader Fade all parameters
Once a show has been programmed, do not change the order of the functions within
function.txt otherwise data will get corrupted.
The fixture has new functions which are not already in functions.txt
If the new functions are of Beam kind, they will be added automatically - there is no need to edit
functions.txt. Otherwise, they will need to be added to the file by adding more function lines.
FunnyCol = c
The name must be unique, and 10 characters or less. Try to maintain similar naming conventions, eg, <>
indicating rotation.
Indicate the function kind using the symbols :
• + is for the primary intensity parameter of the fixture
106 • HOG – Version 3.20
• I,C,B,F denote Intensity, Colour, Beam, and Focus
movement = invert For pan and tilt only. If the head movement is non
standard (defined as Clay Paky), use this
command to invert the movement.
deflection = 355 These are used with XYZ.
offset = 0
Guidelines
• Use function names that exist already.
• Use red/green/blue or magenta/cyan/yellow.
• The Intensity display area is small, so don't use any labels in ranges for 'intensity'; use 'str' for strobe.
• Use continuous ranges where possible; where it is an increasing then decreasing value (or vice versa),
put in a 'centre' option. eg. wheel spins that are clockwise, then counterclockwise,
• Use standard range labels. If in doubt, search existing libraries to see what has been done already. In
particular...
- >> for rotating, spinning wheels (ie, colour and gobo)
- red+ for split colours
- congo, not uv
- lt blue, lt green
- use index and spin for rotating gobos (ie, not spinning wheels)
- prism 1 (even if only one prism); don't use 3 facet etc.
• Check other fixtures to see how they have been done
• Align mirror movement to Clay Paky
• Multi range intensity - have you got the intensity control first?
Fixture Library • 109
• Do not set strobe as an htp8bit intensity channel (because that would mean that you could not dim
cuelists with programmed strobes without the strobe rate changing). If you want strobe on faders - hold
“Select” and then fade. Fader/flash does ICBF cuelist is an option that can be set in the cuelist window
under options. However, some people prefer the Trakspot with shutter set up this way in order to get
a faster flash bump.
DMX-512 Ports
There are two DMX-512 Output ports on the back of the HOG. DMX-512 1 and 2 refer to the Output patch
listings 1 and 2 respectively. The connectors are 5 Pin XLR female panel sockets and are wired as follows:
Pin 1 Digital Ground
Pin 2 Data -ve
Pin 3 Data +ve
Pin 4 Not Used
Pin 5 Not Used
RS-485 Standard USITT DMX-512 Protocol
Desklight
2 ports are provided for desklights. A maximum load of 10 Watt @ 12 volts (2 x 5 Watt lamps) can be
connected to the console. The connector used is a 3 Pin XLR female socket and is wired as follows:
Pin 1 Not Used
Pin 2 0V
Pin 3 +ve (0-12V)
VGA Port
The VGA port is used to connect a VGA monitor to the console. The connector is a 15 Pin High Density
female “D” Sub-Connector and is wired as follows.
Pin 1 Red
Pin 2 Green/Mono
Pin 3 Blue
Pin 4 Not Used
Pin 5 Not Used
Pin 6 Red Ground
Pin 7 Green Ground
Pin 8 Blue Ground
Pin 9 Not Used
Pin 10 Ground
Pin 11 Not Used
Keyboard Port
The Keyboard port allows an IBM AT style computer keyboard to be connected to the HOG. The port is a
o
180 5 Pin female DIN connector and is wired as follows
Pin 1 Keyboard Clock
Pin 2 Keyboard Data
Pin 3 Not Used
Pin 4 Ground
Pin 5 +ve 5V
A D
Active, 48
Active Master, 71 Daily Triggers, 97
Add/Swap, 7 Data Leads, 9
All, 46 DBO, 70
All Parameters, 38 Debug Information, 82
Arrow Keys, 8 Default Values, 71
Astro Time, 98 Delay, 3, 58
Astronomical Clock, 98 Delete, 35, 37
Auto Menu, 12, 17 Deselecting Palettes, 26
Auto Update, 34 Displays, 8
Autoexec Macro, 80 DMX Test Mode, 50
B E
Backlighting, 80 EBU, 89
Backspace, 22 Edits Track Forward, 38, 79
Backup Console, 91 Effects Engine, 53
Ballyhoos, 53 Even, 46
Beam, 3, 26 Event Monitor, 82
Blind, 23 Everything, 37
Blocking Cue, 2, 38 External Display, 8
BPM, 73 External Keyboard, 79, 103
Bugs, 4
F
C
Fade, 58
Fade Time, 3
Cables, 9
Fader, 69
Change Show, 75
ICBF, 69, 72
Chases, 73
Fader Masters, 7
Chases, Automated, 53
Fan, 49
Choose, 69
Fault at, 4
Circle Effects, 53
Film, 89
Clear, 25
Fine Wheel Movement, 47
Clock, 97, 98
Cloning, 46 Fixture
Colour, 3, 26 Alignment, 13
Command Line, 8 Codes, 110
Comment Macros, 65 Files, 107
Halt, 69
Hard Commands, 38, 66
Highest Takes Precedence, 71, 72
N
Highlight, 47
Holdover, Page, 42 Naming Shows, 76
Hourly Triggers, 97 Navigation, 8
HTP, 71 New Show, 78
Fader, 72 Next, 47
NTSC, 89
I
O
ICBF, 3
Fader, 69, 72 Odd, 46
In Time, 3 Offset, 54
Intensity, 3, 18 One Shot Effects, 53
Invert, 46 Only, 47
Invert - Pan, 13, 87 Out, 47
Invert - Tilt, 13, 87 Out Time, 3
Output Display, 26
Override Priority System, 71
K
Keyboard, External, 79
P
Keypad, 22
Knockout, 48 Page, 2
Page Holdover, 42, 79
Page Reload, 83
Pages, 7, 40
L Clearing, 41
Creating, 41
Latest Takes Precedence, 71, 72 Crossfading, 42
LCD, 8 Deleting, 42
Learn timing, 90 Holdover, 42
Learn Timing, 59 Modifying, 41
Link, 60 Naming, 41
Load, 36 Template, 43
Locking, 81 Palette, 3
Loop, 60 Palettes, 31
LTP, 71 Palettes
Fader, 72 Embedded, 33
Modifying, 33
Pan Invert, 13, 87
M Parameter, 3
Parameter Wheels, 7
Macros, 62 Parameters Separate, 79
Autoexec, 80 Patching, 10
Index • 119
Path, 3, 49
Pause, 69
T
Pig, 3
Playback Masters, 7, 69 Temperature, 4
Ports Template Pages, 43
Connection, 9 Terminology, 2
Position, 7, 26 Tilt Invert, 13, 87
Power, 9, 17 Timecode, 89
Preset Focus, 31 Learn Timing, 59
Prev, 46 Programming, 90
Priority, 72 Reset, 90
Programmer, 21 Simulating, 90
System, 71 Timing, 3, 28, 58
Problem Solving, 4 Timing, Learn, 59
Programmer, 7 Toolbar, 8
Programmer Contents, 23 Track Forward, 38
Programming, 18, 21 Trackball, 81
Removing, 48 Trackball Pan/Tilt, 79
Programming Functions, 7 Tracking, 45
Triggers
Daily, 97
Hourly, 97
R Try Cue, 29
S V
Safety Information, 4
Verify, 76
Save As, 77
Virtual Masters, 61
Saving, 14, 75
Screen Setup, 9
Select, 46
Serial Output, 94 W
Simulating Timecode, 90
Single Q Rate, 70 Wait, 3, 58
SMPTE, 89
Software Updates, 5
Split Fade Times, 59 X
Split Timing, 29
State, 37 XYZ Mode, 19
Stomped, 71
Support, 5
Swap Axes, 13, 87
Symbols, 3